• 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. Click Here

DIS Shareholders and Stock Info ONLY

https://finance.yahoo.com/news/tata-said-consider-buying-disney-120610716.html

Tata Said to Consider Buying Disney Stake in India TV Platform
Baiju Kalesh and P R Sanjai
Thu, Mar 14, 2024, 7:06 AM CDT

(Bloomberg) -- Tata Group is considering buying Walt Disney Co.’s stake in Tata Play Ltd. to give it full control of the subscription television broadcaster, people familiar with the matter said, continuing a shakeup in India’s media industry.

The companies are in preliminary talks about an acquisition of Disney’s significant minority stake, which would value Tata Play at about $1 billion or more, the people said, asking not to be identified as the considerations are private. Tata may decide not to pursue a deal, they said.

Representatives for Tata and Disney declined to comment.

The buyback discussions with Disney come after the American company signed a binding agreement in late February to merge its India unit with billionaire Mukesh Ambani’s media arm Viacom 18 Media Pvt., creating an $8.5 billion entertainment giant that will have 750 million viewers and dominate the sector in the world’s most-populous country.
Read More: Ambani Cements India Media Dominance With Disney Merger

The mega merger is also triggering an exit by another media behemoth as minority partners cash out. Paramount Global on Thursday agreed to sell its 13% stake in its Indian TV business to its partner, Ambani’s Reliance Industries Ltd., for $517 million.

Disney and Paramount’s transactions, including the discussions with the coffee-to-cars Tata conglomerate, show that global media giants are paring their exposure or exiting the Indian market as local players consolidate their holdings.
 
https://www.msn.com/en-us/sports/ot...-a-new-streaming-service-fix-that/ar-BB1jSicZ

Watching Sports Is a Mess. Can a New Streaming Service Fix That?
Sports fans weigh merits of future streaming alliance between Fox, Warner Bros. and ESPN. ‘Since I cut the cord, I’ve been waiting for this.’

By David Marcelis and Nate Rattner
March 14, 2024 - 5:30 am EDT

New York Yankees fan Deb Wan pays over $160 a month to watch her favorite team. Phoenix Suns fan Jordon Low has a much better deal: $0.

Wan relies on a cable-TV subscription and several streaming services to catch all Yankees games. All Low needs to watch the near-totality of the Suns’ regular season is a free antenna he got from the team.

The wide gap between both fans’ experiences is indicative of the fragmented nature of sports watching in America, where cord-cutting and the proliferation of new platforms have made things easier for some, and more complicated—and costly—for others.

Last month, a consortium of media giants unveiled plans for a new streaming service that is expected to make sports watching simpler. The streamer, which is scheduled to go live this fall, will bundle ESPN+ with 14 sports-heavy channels owned by its parents—Fox, Disney’s ESPN and Warner Bros. Discovery.

The companies have yet to come up with a name or disclose a price for the service, but news of its creation sent shock waves through the sports and media worlds. Sports has never been more crucial to the survival of traditional television: Of the 100 most-watched broadcasts in 2023, sports accounted for a whopping 96, according to Nielsen.

The popularity of sports has led some observers to proclaim that the planned sports-streaming service would deal the final blow to traditional television, while others have brushed off the effort as a half-baked attempt to fix Americans’ long-broken sports-viewing experience.

The new service’s appeal depends on what sports you like to watch.

The new service will essentially be an online, heavily curated version of a cable bundle. It will carry entire channels such as ESPN, Fox and ABC, but won’t offer regional sports networks that are crucial to many fans. Its monthly cost could approach $50, The Wall Street Journal previously reported.

The question is whether consumers will find that appealing when they can buy a fuller online cable bundle such as YouTube TV for $73 a month—getting the 14 channels included in the news sports-streaming package plus dozens of others such as CNN, CBS, NBC and Bravo.

A relative bargain

The Journal spoke to dozens of sports fans for this article, most of whom say they rarely—if ever—watch nonsports content on the hundred-plus channels available on their cable or internet-TV packages. Instead, they rely on Netflix and other streaming services for their entertainment needs.

Many said they would consider signing up for the new service, even though it doesn’t offer access to all live sports. One workaround, some suggested, would be to sign up for Comcast’s Peacock and the pricier tier of Paramount Global’s Paramount+ on top of the new service, because they offer access to most of the NFL and college-sports content that the new platform is missing. Many sports fans already subscribe to these two services for their international-soccer offerings.

Assuming a $50 price tag for the new sports venture, the total cost of subscribing to it on top of Peacock and Paramount+ would be $68, which would make that combination a relative bargain compared with most cable and internet-TV alternatives.

The new service’s lack of access to regional sports networks, which carry local-market telecasts for major professional teams, is a turnoff for some prospective customers. Several of these networks have launched their own direct-to-consumer streaming platforms in recent years, but many others are limited to pricier internet-TV or traditional pay-TV bundles. Amazon is also inching into that market.

The importance of local games—and the convenience of having most content on a single platform—has some sports fans sticking with cable TV.

“The Yankees are the main reason why I still have cable,” said Wan, an engineer from New Haven, Conn. Wan said she has no interest in the new sports-streaming service because it doesn’t carry YES Network, the Yankees’ local broadcaster.

‘Kind of like a time warp’

In 2023, Yankees fans also needed three additional streaming subscriptions—to Amazon’s Prime Video, Apple TV+ and Peacock—to be able to watch every game, because each service had exclusive rights to some of them.

Wan said she has the three services, but doesn’t pay for them specifically—she gets Peacock through her cable-TV plan, Apple TV+ as part of a promotional offer and Prime Video for the Amazon free-shipping perks—so she isn’t factoring them in as part of the cost of watching the Yankees. She said her cable-TV plan costs north of $160 a month, including fees.

This coming season, Apple TV+ will once again have exclusive rights to some Yankees matchups, and Prime Video will carry 21 of the team’s games.

Just like Wan, Low used to pay upward of $100 a month for dozens of channels that he barely watched just so that he could follow his favorite team, the NBA’s Phoenix Suns.

Then in 2023, the Suns announced that most of their games would be available on over-the-air networks beginning this season. Low canceled his plan, DirecTV Stream, and signed up for a free antenna from one of the Suns’ partners.

Some 74 of the 82 Suns regular-season games are available over the air. When he doesn’t have access to a game, Low, a 40-year-old technology specialist from Gilbert, Ariz., says he listens to it on the radio. His antenna will also give him access to Suns games for the first round of the NBA Playoffs. Should the team make it past that point, Low says he plans to sign up for an internet-TV bundle for a month or two.

Other teams have negotiated new deals recently to have most of their games available over the air, including the NBA’s Utah Jazz and the NHL’s Arizona Coyotes and Vegas Golden Knights.

Low said he is very happy with the image quality and overall experience, but said that using an antenna to watch the Suns wasn’t something he could have foreseen when he cut the cable cord a few years ago.

“It’s kind of like a time warp,” he said.

Targeting cord-nevers

In 2023, U.S. households that don’t have traditional pay-TV—known in the industry as cord-cutters and cord-nevers—outnumbered the households that do, marking an important inflection point. The chief executives of the companies behind the sports-streaming venture say they expect the new service to bring cord-nevers into the fold.

“We don’t see a lot of people unsubscribing to cable in order to get this,” Warner Bros. Discovery Chief Executive David Zaslav said of the new service during a recent earnings call. “We’re going after the 60 million-plus” U.S. households without cable TV, he said.

Eric Shockey is among the targeted customers. When he dropped traditional television years ago, he looked for the cheapest internet-TV package that included ESPN. That turned out to be Sling Orange, to which he subscribes for about seven months a year—from the start of the college-football season to the end of the college-basketball tournament.

The 34-year-old architect from Lexington, Ky., said he doesn’t think he has ever watched anything beyond sports on Sling Orange’s 30-plus channels. A University of Kentucky fan, he is planning to sign up for the new sports streaming package when it launches this fall—as long as it costs $60 or less.

“Since I cut the cord, I’ve been waiting for this,” he said. “To have the sports-cable package without paying for cable has been what I’ve wanted forever.”

Write to David Marcelis at david.marcelis@wsj.com and Nate Rattner at nate.rattner@wsj.com
 
https://www.hollywoodreporter.com/b...warnerbros-paramount-nbcuniversal-1235852103/

Megamerger Dreams Are Dying — and Hollywood May Be Better Off​

After a decade of chasing scale for scale’s sake (think Warners’ $43 billion spinoff to Discovery), media dealmaking is slowing under the watchful eye of government regulators.

BY WINSTON CHO
MARCH 14, 2024

In July 2023, near the peak of animosity between scribes and studios during the writers strike, a picket outside ABC’s The View in New York welcomed an ally: Federal Trade Commission chair Lina Khan. Behind closed doors, the writers union had been sharing concerns of a wave of mergers that it said left just a handful of studios like Disney, Warner Bros. Discovery and Amazon as the lone arbiters of which movies and TV shows are made, what consumers watch and how they can watch it. Flanked by protest signs name-checking WBD boss David Zaslav to “just give up one yacht” and chants embracing themes of “exploitation,” “concentrated power” and “corporate giants,” Khan delivered a fiery speech that also effectively served as a signal to moguls seeking more mergers and acquisitions.

Since that time, feverish speculation has centered on Shari Redstone relinquishing control of Paramount Global in a megadeal or Warner Bros. Discovery undergoing another big merger (with Paramount? With Comcast-owned NBCUniversal?) when it is legally allowed to do so without taking a tax penalty, beginning in April. But there may be more hesitation to pull the trigger now. Tasked with a mandate to invigorate competition after decades of lax antitrust enforcement, regulators are taking to court to block deals.

“We’ve seen over the last few decades significant consolidation and a wave of mergers and acquisitions, not all of which have ultimately served the American public,” Khan tells The Hollywood Reporter. “We’ve seen mergers that were allowed to go through that ended up consolidating power and resulting in higher prices, lower wages and quality, less innovation and just more stagnant markets.

“Generally speaking, TV and movies and entertainment are just such an important part of American cultural life, as well as our economic life,” the FTC chair adds, “so it’s an especially important area of the economy to get right.”

Gone are the days of rubber-stamping iffy megamergers that, some critics say, have allowed companies to suppress wages, engage in self-dealing via self-preferential agreements (think a studio giving a sweetheart deal to its network arm) and even shelve finished content for tax write-offs à la WBD’s handling of Batgirl and Coyote vs. Acme (Disney has done the same with unnamed titles). Hollywood may be better off for it, these observers contend. “I started working in TV during a time when you’d come up with a pitch and you actually had a marketplace to sell your concept to,” says Dan Gregor, a writer and producer on Chip ’n Dale: Rescue Rangers and How I Met Your Mother. “Now that the studios and networks are functionally the same, it’s almost always a take-it-or-leave-it offer.”

The opening salvo from competition regulators came in 2021, when the Department of Justice antitrust division sued to block Penguin Random House’s $2.175 billion proposed acquisition of rival Simon & Schuster from Paramount Global in bid to crack down on so-called monopsonies, a dynamic in which a buyer with outsize market power can purchase labor and goods at prices under market value. Less than a year later, the Jonathan Kanter-led DOJ unit secured a major victory in the first successful merger challenge that went through a full trial in half a decade when a federal judge found that combining two of the world’s largest book publishers would hurt competition for best-selling books. Since around that time, the DOJ and FTC have successfully broken up deals in the airline, pharmaceutical and hospitality industries — securing guilty pleas in criminal monopolization cases along the way.

Amid this sea change in competition regulation, big tech — which aims to further encroach upon Hollywood with the rise of generative artificial intelligence tools — is bracing for a wave of antitrust rulings involving Apple, Meta, Google and MGM parent Amazon this year that could upend the traditional approach of growth through M&A.

Even in cases antitrust enforcers have lost, there is an argument to be made that they sent a message to the market and undercut prevailing theories around antitrust law that has largely protected tech giants. Before Khan and Kanter were appointed, regulators rarely questioned “vertical” transactions, which refers to mergers between firms that are not direct competitors, under the assumption they generally do not create monopolies. This thinking can be traced back to University of Chicago conservative economists and legal scholars Robert Bork and Richard Posner. Their work led to a wave of deregulation and the eventual elimination of the FCC’s “fin-syn” rules that blocked broadcast networks from owning primetime programming, which gave Paramount, Universal and Disney a roadmap to cement their market power by acquiring CBS, NBC and ABC, respectively.

Led by Khan, the FTC in 2022 sued to block Meta from buying game developer Within in a lawsuit advancing relatively untested and novel theories arguing that antitrust laws account for actions taken by a firm that is not yet a monopolist but is positioned to become one. Although it allowed the deal to go through, the court made a point to note that mergers between companies that do not currently compete against each other can violate Section 7 of the Clayton Act, which bars transactions “whenever the effect would substantially lessen competition and tend to create a monopoly.”

“Given the actual potential competition doctrine’s consistent, albeit distant, history of judicial recognition, the Court declines to reject the theory outright and will apply the doctrine as developed,” wrote U.S. District Judge Edward Davila in the 65-page order, rebuffing arguments from Meta that the agency’s theory is “dead-letter doctrine.”

The heightened threat of litigation has also played a part in discouraging megamergers. The FTC may have lost its lawsuit challenging Microsoft’s $69 billion proposed acquisition to buy video game publisher Activision Blizzard, but the company spent at least $80 million on the litigation, sources familiar with the situation tell The Hollywood Reporter. Microsoft, the world’s most valuable company, ate that cost in a bid to become a gaming behemoth. WBD may have a different perspective on the math of a megadeal, given its hefty debt load of $44.2 billion.

With Khan and Kanter watching, M&A in the tech, media and telecom sector has slowed. In 2023, deals in the sector had a 46 percent close rate, a seven-point dip from the previous year, and a 30 percent fail rate, a seven-point uptick from 2022, according to an M&A review by financial software firm Datasite. This tracks with observations from dealmakers and analysts consulted by THR. “There are certainly deals people have looked at that they’re thinking harder about in light of the current antitrust environment,” says Jonathan Davis, a partner at Kirkland & Ellis. Potential enforcement has been “brought to the forefront of the list of threshold considerations” when companies assess deals, he adds.

Bart Spiegel, an exec at consulting giant PwC U.S., notes: “People see the regulatory environment as a challenge to do a deal,” and it “makes them think twice.” The firm’s latest deals report highlighted that “the slowdown of deal activity in the media and telecommunications sector continued through the second half of 2023″ due to financing challenges and competition enforcement.

The regulatory scrutiny runs headfirst into studio bosses’ instincts to chase growth through dealmaking. The 12-year period between 2009 and 2020 saw more than $400 billion in media and consumer telecommunications megamergers amid a wave of consolidation that killed thousands of jobs and blurred the separation of studios and distributors, giving rise to behemoths that control both the content production and distribution pipelines. Five transactions make up a bulk of that figure — Comcast and NBCUniversal (2011); AT&T and DirecTV (2015); AT&T and Time Warner (2018); Charter, Time Warner Cable and Bright House (2016); and Disney and Fox (2018).

Writer-producer Gregor says he had a movie at 20th Century Studios he was set to direct before the project fell into a “black hole” when Disney acquired 21st Century Fox. “Consolidation created a marketplace of creators who don’t have leverage to negotiate,” he says. Dozens of writers shared similar experiences with the FTC last year in support of revisions to merger guidelines that signal a tougher stance on vertical transactions and, for the first time, take into account a merger’s impact on workers. “Media consolidation has made it exponentially more difficult to sell a television or movie project,” wrote Leonard Dick, a writer for Lost and House. “If I am partnered with, say, 20th Television (owned by Disney) and the Disney-owned streamer/networks don’t want to order it, chances are slim to none another network/streamer will buy it because they want to own their own shows.”

Andrew Nicholls, who was the head writer for The Tonight Show Starring Johnny Carson, warned, “There are fewer gatekeepers, and their vertically-integrated bosses — the final purchasers — overlap. If we aren’t careful, the taste and the range-of-knowledge of only a few dozen people could come to circumscribe everything developed for the American television audience.

For signs that regulators may be saving the studio system from devouring itself, look no further than Warner Bros. Discovery, whose stock has lost more than 60 percent of its value since the merger was consummated. Cuts are the norm after a merger, but the way in which Zaslav pursued a plan to cut $3 billion in costs has drawn ire. By shelving nearly finished titles, including Batgirl, Scoob!: Holiday Haunt and Acme v. Coyote, the company saved millions of dollars that would have went to completing and the marketing the movies, on top of collecting hefty tax write-offs. In an industry that runs on relationships with talent, the decision from WBD execs, whose bonuses are tied to free cash flow and debt reduction, alienated some creators. The backlash has been sustained after each disclosure.

“Is it anticompetitive if one of the biggest movie studios in the world shuns the marketplace in order to use a tax loophole to write off an entire movie so they can more easily merge with one of the other biggest movie studios in the world?” Spider-Verse writer-producer Phil Lord wrote Feb. 9 on X of WBD, which drew calls last year from lawmakers for the DOJ to reassess its decision greenlighting the megamerger. “Cause it SEEMS anticompetitive,” Lord added.

A merger may have made more sense when studios were being rewarded by investors for growth. It’s a tougher sell now. “When Wall Street valued scale at all costs, M&A was much more attractive,” says David Wisnia, managing director of consulting firm Alvarez & Marsal and a former MGM exec. “Now it’s about profitability, and you have to make sure your dance partner is a suitable one that will show you success.”

A version of this story first appeared in the March 14 issue of The Hollywood Reporter magazine.
 
https://finance.yahoo.com/video/why-us-media-giants-stepping-215027100.html

Why US media giants are stepping back from India

by Josh Lipton and Julie Hyman
Thu, Mar 14, 2024, 4:50 PM CDT

On Thursday, Paramount (PARA) announced it would sell its stake in India's Viacom18. It follows a similar move from Disney (DIS), which is merging its India assets with Reliance Industries in a joint venture. Why are these two media giants making the move now? Yahoo Finance's Alexandra Canal explains in the video above.

Editor's note: This article was written by Stephanie Mikulich.

Video Transcript​

JULIE HYMAN: India's entertainment industry is booming, but US media companies like Paramount Global and Disney are finding it difficult to compete as local rivals sit on piles of cash while monetization efforts in the region stall. Yahoo Finance-- Yahoo Finance's Alexandra Canal. So excited to talk to you about this, Ali. You've been digging into this.
ALEXANDRA CANAL: Yeah. So I just thought it was interesting that very recently in the span of two weeks, we've seen two major media companies pull out of India. And India is an area that we've seen a lot of growth in, a lot of investments across tech. You look at a company like Apple, they're making a lot of investments over there.

However, the reason why I think this is happening now is profitability is a big challenge for a lot of these companies. Paramount, obviously, is dealing with heavy debt loads. And now that they sold their entire 13% stake in Viacom 18 to Reliance Industries, they're getting $517 million in cash. So that helps them delever their balance sheet as M&A rumors are swirling for that company.
At the same time, it's very hard to monetize in India. And I think that's why we saw Disney retreat a little bit from that company. They are going to be selling their Starz business to Reliance. And they're really creating this new joint venture. So not fully exiting India, but definitely a step back compared to what they were doing before.

And Disney, they really struggled in the country after they lost the rights to stream the Indian Premier League Cricket matches to Reliance. That led to a severe drop in those Hotstar subscribers. And that led to average revenue per user declining pretty rapidly. So when you have this combination where profitability is struggling, back at home in the US, both of these companies are dealing with a lot of challenges, now is probably not the best time to be making further investments in riskier overseas markets.

That being said, though, India has very significant advances when you think about media and entertainment. There is a EY report that the country's M&A sector grew 8% in 2023 to reach $27.9 billion in total value. And that's expected to continue to expand as the country really grows in this particular industry. So I think we're going to see investments. It's just now might not be the right time, considering all the challenges.

JOSH LIPTON: Yeah, it's interesting just given all the geopolitical tension with China. You think you'd be doubling down on India.

ALEXANDRA CANAL: Yeah. And like Disney has said that they want to stay in the country. But in an earnings call in November, Bob Iger said at the time that they were evaluating all of their options, because there were areas of the business that we're struggling not just for Disney but really across the gambit when you think about all of these legacy media companies that are in that region. So I do think it's going to be an area of focus. I just think now is probably not the right time.

JOSH LIPTON: All right, Ali, thank you so much. Appreciate it.
 
https://www.hollywoodreporter.com/b...-wars-marvel-profits-nelson-peltz-1235852695/

This Is How Much Disney Has Made Off of the Star Wars and Marvel Franchises

As it fights off an activist investor dead set on changing the company's plans, the Bob Iger-led company touted its massive profits from two big bets over the past 15 years.

by Kevin Dolak
March 14, 2024 - 1:59pm PDT

The Walt Disney Company is giving its investors a sense of the massive profits it has made off of the Star Wars and Marvel universes since that studio and Lucasfilm became part of Disney — and it’s more than one can shake a lightsaber at.

In a presentation posted to the shareholder campaign website Vote Disney, the House of Mouse included highlights of its success with franchises as the company is waging a proxy fight with activist investor Nelson Peltz.

Corporate intrigue aside, the presentation reveals some compelling numbers on the high-profile acquisitions Disney has made over the past 15 years. In a section titled “Enduring franchises highlight our powerful IP and unique monetization capabilities,” Disney indicates that it has seen a 2.9 times and 3.3 times return on investment after purchasing Lucasfilm and Marvel Studios in 2012 and 2009, respectively.

In 2012, Disney paid $4 billion for Lucasfilm, giving Disney ownership of the Star Wars and Indiana Jones franchises.

In a timeline highlighting landmark Star Wars releases and projects since the acquisition, the investors presentation cites the opening of the Star Tours Adventures Continue at its theme parks, the release of three Star Wars movies from 2015-2019, Disney+’s franchise series The Mandalorian, Obi-Wan Kenobi, Andor and Ahsoka from 2019-2023 and three untitled films anticipated for release from 2026 to 2029.

In the filing, Disney suggests that Lucasfilm has generated nearly $12 billion in value to the company.

For Marvel, which it bought in 2009 for $4 billion, Disney cites all four Avengers movies and the Avengers Campus Marvel Cinematic Universe–themed areas that opened at Disney’s California Adventure and Walt Disney Studios Park in Disneyland Paris. The four blockbuster movies occupy four of the top 15 slots on the list of top lifetime box office grosses.

Marvel has generated some $13.2 billion in value to Disney, per the presentation.

The 2.9X and 3.3X ROI figures are pulled from company data and reflect the ratio between revenue and investment on titles released following the company’s acquisition of the Marvel and Star Wars intellectual property, the company notes. Revenue reflects aggregate 10-year revenue streams, both generated and expected, directly associated with the releases (including theatrical, home entertainment, pay and free television and consumer products).

Disney also notes this does not include derivative revenue streams, such as park attractions, nor does it include originals associated with those franchises or pre-established franchise consumer products revenue. By investment, the figure reflects film production costs, print and advertising associated with theatrical releases. It does not include additional distribution costs or overhead.

While the company’s forays into these franchises have received mixed responses from their devoted fans, the financial success they’ve brought likely means there is much more to come. Two more seasons of Disney’s live-action Star Wars series, The Acolyte and Andor, will debut this year and in 2025 while two Untitled Star Wars movies are coming, with one focusing on Daisy Ridley’s Rey character and another, titled The Mandalorian & Grogu, taking the Mandalorian series to the big screen.

That film’s star, Pedro Pascal will leap over to Marvel with a reboot of The Fantastic Four, one of the studio’s upcoming releases as it fights off superhero fatigue. The next outing of its all-star gaggle of crime fighters will come in 2026 with The Avengers: The Kang Dynasty in 2026 — one of at least 20 more projects it has coming by the end of 2027.

The presentation sits alongside a video released this week where Disney goes for the jugular in its attacks on Peltz as he and former Disney CFO Jay Rasulo seek to revamp the company by gaining seats on its board. Styled like a political attack ad, the video asserts that if the two succeed, Disney “could suffer the same fate as other great companies that Peltz has previously infiltrated, such as GE and Dupont.

“Nelson Peltz has a long history of attacking companies to the ultimate detriment of shareholder value,” the narrator of the three-minute video states. As is reflected in the presentation, the video emphasized the fact that Peltz has no experience running a global media company.

In a recent letter to Disney shareholders, Peltz’s Trian Fund Management says that the company can’t afford another “boom or bust sequel” to three years of negative performance in the stock market. Noting that company stock is up in 2024’s first quarter, the hedge fund’s letter casts doubt on Disney’s ability to deliver or sustain momentum from the announcements made on its strategic plan while patting Peltz’s back for the war he’s waging on Disney.

“Without the pressure of our proxy contest pushing Disney to perform,” the letter reads, “it is unclear if the ‘announcements’ would have been made.”
 
https://finance.yahoo.com/news/espn...ure-names-ex-apple-exec-as-ceo-151718429.html

ESPN-Fox-WBD joint sports venture names ex-Apple exec as CEO
Alexandra Canal · Senior Reporter
Fri, Mar 15, 2024, 10:17 AM CDT

The new sports streaming partnership among Disney's ESPN (DIS), Warner Bros. Discovery (WBD), and Fox (FOXA) just found its new CEO: former Apple and Hulu executive Pete Distad.

Distad, who most recently served as an executive at Apple (AAPL) for a decade following six years at Disney's Hulu, will assume oversight of all aspects of the joint venture, including overall strategy, distribution, marketing, and sales, according to a press release.

The streaming service, announced last month, is set to debut sometime this fall and comes at a time when media companies are facing increased pressure from investors to scale their platforms and achieve profitability.
The unnamed platform will bring together the three companies' respective slates of sports networks. Collectively, the new service encompasses about 55% of US sports rights, according to Citi Research.

"Pete is an accomplished innovator and leader who has extensive experience with launching and growing new video services," the three companies said in a joint statement. "We are confident he and his team will build an extremely compelling, fan-focused product for our target market."

While at Apple, Distad was responsible for the business, operations, and global distribution of the tech giant's video and sports efforts, including the launch of streaming service Apple TV+.

Notably, he helped scale the fledgling platform as it worked to compete with more established players. He was also involved in Apple's eventual $2.5 billion acquisition of MLS season pass in 2022.

"This is an incredible opportunity to build and grow a differentiated product that will serve passionate sports fans in the US outside of the traditional pay TV bundle," Distad said in the release. "I’m excited to be able to pull together the industry-leading sports content portfolios from these three companies to deliver a new best-in-class service."

Earlier this month, Fox CEO Lachlan Murdoch said the service will be priced on the higher end of estimates with subscribers expected to hit around 5 million by 2029. Wall Street has estimated the price point will come in between $40 and $50 a month.

The companies have yet to reveal when they will release exact pricing information.

Alexandra Canal is a Senior Reporter at Yahoo Finance. Follow her on X @allie_canal, LinkedIn, and email her at alexandra.canal@yahoofinance.com.
 
Defector had a good piece on Disney and investors seeking infinite growth today:

https://defector.com/a-disney-world-perverts-take-on-the-existential-war-of-investor-aggression

Disney has shown year-over-year growth—not just profit, but growth, as in this year's number being larger than last year's—in 42 of the last 56 fiscal quarters, a period that includes both massive upheaval in one of its core business areas and, you know, a global pandemic. There's an entire conversation to be had about the baseline insanity of that—about the extravagant lengths that a company of that size and ubiquity must go to in order to grow more-or-less ceaselessly in years 87 through 100 of its existence—but the point is that however deranged that particular game may be, Disney is playing it reasonably well.

Despite all that success, Disney's stock has lost value over the last five years. In the incredibly rational world of Big Business, this kind of thing is considered normal as hell. Since hitting a high of about $202 in March of 2021, shares of Disney have fallen in price by approximately 45 percent, to a Thursday midday trading price of around $111. The company's market cap—the total value of all outstanding shares—has dropped by a whopping $160 billion, much more than a third of its March 2021 height.

This is because investors and Knowers Of Big Business do not always share the common person's idea of what makes for a successful company. Where you or I or the vast overwhelming majority of Disney's couple of hundred thousand employees conceive of business as the selling of a quality product or service to a customer at a profit and using that profit to pay for things like salaries and benefits, Big Business Knowers understand that all of everything that I just typed is horses***. Big Business Knowers understand that True Business—again, entirely rational and good—is in fact about becoming vastly larger, at every checkpoint, no matter what, forever.
 
This is why I think Roy E. Disney’s children should join the Disney company board. They probably have knowledge of the whole company learned from their late father.
More importantly, do they have experience running a complex business worth billions?
 
Board members need to have in-depth experience running complex companies. I don't think they have that.
Perhaps Roy E.'s children have knowledge of The Walt Disney Company via lecturing, "bring your kids to work" days, and by reading through the company handbooks.
 
https://www.nytimes.com/2024/03/16/business/media/peltz-disney-proxy.html

What Must Nelson Peltz Do to Get Some Respect?

The longtime corporate agitator feels misunderstood. Maybe his fight with Disney could change that.
Nelson Peltz, 81, has been battling the Walt Disney Company over its corporate strategy.

By James B. Stewart and Lauren Hirsch
March 16, 2024

At age 81, with over four decades of dealmaking and corporate cage-rattling under his belt, Nelson Peltz would seem to have pretty much everything.

He’s a billionaire. Until the hedge fund billionaire Ken Griffin came to Palm Beach, Fla., Mr. Peltz had the largest property tax bill in town, with an oceanfront estate estimated to be worth $334 million. His 130-acre property in Bedford, N.Y., known as High Winds, has its own helipad, indoor ice rink and waterfall. He has use of his company’s jet. (But so far, he owns no yacht — he rents one instead.)

He also has an undeniably full life apart from his business: He has two children from his first marriage. He also has eight children (including two sets of twins) with his wife since 1981, the former model Claudia Heffner. His eldest child from that marriage, Matt, is a partner and co-chief investment officer at Mr. Peltz’s Trian Partners.

His photogenic younger children have thrust him into the tabloids and onto the Hollywood red carpet. Nicola, an actress (“Bates Motel,” “Transformers: Age of Extinction,” “Welcome to Chippendales”), married Brooklyn Beckham, son of David and Victoria Beckham, in a splashy wedding at the Peltz Palm Beach estate in 2022. Will is also an actor (“Unfriended,” “Euphoria,” “Manifest”). Brad played hockey for Yale and was drafted by the Ottawa Senators.

And yet Mr. Peltz yearns for something that continues to elude him: the respect from the corporate elite, which he craves and feels he deserves. Could admittance to the inner sanctum of one of the best-known and most respected companies in the world — the Walt Disney Company — deliver that?

On and off for almost a year and a half, Trian Partners has waged an intense corporate fight by controlling a $3.5 billion stake in Disney and pushing for two board seats and influence over the company’s strategy. Mr. Peltz’s ammunition is a barrage of criticism of Disney’s management and board: The stock has plunged; costs have spiraled out of control; a string of big-budget film flops has raised questions about the company’s creative engine — problems that Mr. Peltz says he can reverse with his operational skills and strategic insight. While he concedes he has no experience in entertainment, his opinions, he says, are informed by his children and their high-powered friends, including Elon Musk, who has been critical of Disney.

The proxy battle has pitted him against Disney’s chief executive, Robert A. Iger, one of the media industry’s most powerful executives and someone Mr. Peltz once considered a good friend. Mr. Iger and Disney’s board have pushed back hard, even enlisting the support of the Disney family, including Abigail Disney, who has long complained about Mr. Iger’s lofty compensation. The increasingly bitter contest is hurtling toward a climax on April 3, when Disney will hold its annual shareholder meeting and proxy votes will be counted.

That this fight is over far more than a couple of board seats, or even a multibillion-dollar stake in the company, was abundantly clear in a series of interviews with The New York Times at Trian’s offices on Park Avenue and in Palm Beach, and over the phone.

During the interviews, Mr. Peltz — who has had numerous similar run-ins with corporate giants such as Procter & Gamble, Heinz and Unilever — repeatedly lamented his reputation as a provocateur and “activist” investor, a thorn in the side of chief executives and their boards.

He hates being mentioned in the same company as a rogues’ gallery of activists, buyout operators and corporate raiders, as he often is. He thinks he should be compared to someone he admires and tries to emulate: Warren E. Buffett.

“Does Nelson feel misunderstood? He probably does,” said Arthur Winkleblack, who was chief financial officer at Heinz when Mr. Peltz waged a successful proxy contest there in 2006 and joined the board. “Not all activists are the same. There are activists who are not nice people. There are activists who are.”

Whatever label is attached to him, there’s little chance that Mr. Peltz will be embraced by the august members of the Business Roundtable, the Washington-based lobbying group of elite chief executives, given his long track record of public criticism of boards and chief executives, and his efforts, when rebuffed, to elbow his way into America’s boardrooms.

Jamie Dimon, the chief executive of JPMorgan Chase and a former chairman of the roundtable, recently came out against Mr. Peltz in the Disney proxy fight, citing the disruption that activist investors can bring to a board. JPMorgan is advising the company in its proxy defense. Disney has paid JPMorgan over $160 million in fees since 2014 as a client, according to LSEG, a financial data provider.

One measure of Mr. Peltz’s continuing notoriety is the reluctance of many people who have worked with him to speak on the record — even people he counts as friends and admirers, some of whom he recommended The Times interview for this article. That’s especially true in the midst of the Disney fight; several people said they didn’t want to be caught in the crossfire between Mr. Peltz and Mr. Iger, let alone Mr. Dimon. Both chief executives cast long shadows in the entertainment and business worlds.

“He’s like the uninvited guest who crashes a dinner party,” said Charles Elson, director of the John L. Weinberg Center for Corporate Governance at the University of Delaware. “No matter how charming, he’s not going to be welcome.”

Ski Bum Turned Billionaire

Mr. Peltz can be funny and self-deprecating: He recently told The Times that he was the only person he knew who had gained weight while taking Ozempic, which seems to be popular in his Palm Beach neighborhood (The tanned, fit-looking Mr. Peltz shows no obvious need to lose weight.)

Mr. Peltz, who was born and grew up in Brooklyn, traces his social skills to his student years at the Wharton School of the University of Pennsylvania, where he was president of his hard-partying Phi Gamma Delta fraternity. “Classes screwed up my day,” he said.

He left Wharton before graduating to pursue a passion for skiing, but en route to a job as an instructor at Oregon’s Mount Hood, he was pressed by his father into a two-week stint at the family’s small Bronx-based frozen food distribution company. He was soon brimming with ideas for building the business, investing in the stock market and staying. (He also shaved off his beard at his father’s request. He sports a neatly trimmed beard again today.)

In the decades that followed, Mr. Peltz’s career mirrored the history of modern dealmaking. His successful effort to buy out the notorious corporate raider Victor Posner from National Can in 1985 was the first all-junk-bond tender offer, using the low-rated, high-yielding bonds once shunned by conservative investors. It was also the start of Mr. Peltz’s relationship with the junk bond pioneer Michael Milken. (Mr. Peltz balked at Mr. Milken’s initial invitation, for a 5 a.m. meeting in Beverly Hills; Mr. Milken grudgingly moved the appointment to 6.)

Mr. Peltz forged a close friendship with another controversial raider, Saul Steinberg, who introduced him to Mr. Milken and whose own hostile run at Disney ended with a much-criticized greenmail payment in 1984. (Greenmail is a payment to a corporate raider in return for dropping a hostile takeover bid.)

After the National Can deal, Mr. Peltz’s Triangle Industries swallowed the rival American Can’s packaging division in 1986. He then sold Triangle to France’s Pechiney for $4.2 billion in 1988, including debt. The deal was widely acknowledged as one of the most successful leveraged buyouts, or deals largely funded by debt, and it established a model subsequently embraced by a generation of financiers.

Suddenly wealthy beyond his wildest dreams, and only 46, Mr. Peltz considered an early retirement. But he was quickly bored by golf. He went on to a series of other leveraged acquisitions, buying Snapple from Quaker for $300 million in 1997 and then selling it and some other brands three years later for $1.45 billion. (Mr. Peltz’s success at Snapple is the subject of a Harvard Business School case study.)

“He would often suggest new flavors — and he would push us to come up with different forms and different bottles,” said Ken Gilbert, who was Snapple’s chief marketing officer at the time. “We were spinning out new products every month — it was crazy. And he loved it.”

Mr. Peltz helped found Trian in 2005 to pursue businesses that “weren’t well run but were too big for us to buy,” he said.
He and Peter May, his longtime partner, his friend and a former public accountant, courted outside investors and embraced a lucrative compensation model, taking both a management fee and a percentage of the fund’s gains, a model that soon swept the world of alternative investing and that has minted numerous billionaires.

A Builder, Not a Breaker?

For all Mr. Peltz’s business and financial success, not to mention longevity, his early associations with people like Mr. Posner (who pleaded no contest to tax evasion and fraud in 1988) and Mr. Milken (who pleaded guilty to multiple felonies in 1990 and was pardoned by President Donald J. Trump in 2020) no doubt tainted his reputation, fairly or not.

Even before then, he was turned down by the co-op board when he tried to buy an apartment at 740 Park Avenue in Manhattan, and not because he couldn’t pay in cash. The building, on the Upper East Side, is a residential haven for the corporate elite: His friend, Mr. Steinberg, lived there. And Blackstone’s Stephen A. Schwarzman subsequently bought Mr. Steinberg’s apartment, once home to John D. Rockefeller Jr. (The board later approved a purchase by Mr. May, Mr. Peltz’s partner and the president of the New York Philharmonic.)

On more than one occasion Mr. Peltz, who is Jewish, has encountered what he considered at least a whiff of antisemitism. He recalled that his arrival in London in the 1980s was greeted with a tabloid profile headlined “The Wild and Rocking World of Nelson Peltz.” The first sentence, he said, called him a “Jewish boy from Brooklyn,” and the British business establishment closed ranks against him.

Mr. Peltz, long a fierce critic of antisemitism, said he stepped down from his role as chairman of the Simon Wiesenthal Center in December because after 40 years in the position, it was time for a change. But The Wall Street Journal reported that he left after the center called for a boycott of Ben & Jerry’s. The center had deemed posts by the company’s chairman to be pro-Palestinian after the Hamas attack on Israel. Mr. Peltz is a board member of Unilever, the owner of Ben & Jerry’s.

His fellow billionaire Henry Kravis, the buyout pioneer, is one of the few Jewish members of Palm Beach’s old-money Everglades Club, but not Mr. Peltz. Mr. Peltz said he had “refused to set foot” in the club until it had a Jewish member and, now that it does, has had lunch there several times. (Mr. Peltz belongs to the Palm Beach Country Club, which has long accommodated members excluded from more restrictive Palm Beach clubs.)

Mr. Peltz’s reputation as a corporate troublemaker also cost him his longtime relationship with his Manhattan law firm, Paul, Weiss, Rifkind, Wharton & Garrison. In 2019, the firm cut ties with him even though he had been one of its biggest clients for decades. Paul Weiss handled his estate planning and other matters; a Paul Weiss partner left the firm to become his general counsel. But after Paul Weiss expanded its elite corporate practice in recent years, the firm told him that it could no longer represent activist investors, including him.

Mr. Peltz countered that he wasn’t an activist, he was a “constructivist” — someone who worked with management, not against it. He had never mounted a hostile takeover, he said, or even fired a chief executive. Paul Weiss was unpersuaded. “They dropped me like that,” Mr. Peltz said. “I was probably their oldest living client.”

Vitriol for Disney

Mr. Peltz’s argument that he’s not an activist has also fallen on deaf ears at Disney.

Before the proxy fight, Mr. Peltz had breakfast with Mr. Iger at the Beverly Hills Hotel on occasion when Mr. Peltz was in Los Angeles, and Mr. Iger visited Mr. Peltz in New York. Disney’s pension fund also invested in Trian.

When Elliott Management, led by the activist investor Paul Singer, took a stake in AT&T in 2019 and agitated for change, Mr. Iger asked Mr. Peltz to address the Disney board. Topics on the agenda, according to records reviewed by The Times: “What made AT&T vulnerable?” and “Who will be the winners and losers” as big technology companies move into entertainment and media content production?

But early last year, after Mr. Peltz bought roughly $1 billion in Disney shares and threatened a proxy contest for a board seat if Disney rebuffed his proposals, Disney attacked Mr. Peltz, saying he did “not understand Disney’s businesses and lacks the skills and experience to assist the board in delivering shareholder value in a rapidly shifting media ecosystem.”

Even though Mr. Iger and the Disney board had seemed eager to tap Mr. Peltz’s expertise in 2019, Mr. Iger only grudgingly gave him 45 minutes on Jan. 10 last year to present his plans. Mr. Peltz’s reception was frosty — only Mr. Iger asked a perfunctory question.

Little more than a month after Mr. Peltz started his campaign, Disney pledged $5.5 billion in cost reductions (later raised to $7.5 billion) and said it would resume paying a dividend. Mr. Peltz said the changes aligned with Trian’s goals, and he backed off the proxy fight.

By December, he was back. Frustrated by the ensuing slide in Disney stock— from over $110 a share in February 2023 to below $80 in October— and what he deemed Disney’s failure to follow through with its pledges, Mr. Peltz and Trian renewed their campaign.

This time, Mr. Peltz increased the pressure by allying with two Disney veterans with intimate knowledge of the company: Ike Perlmutter and Jay Rasulo.

Mr. Rasulo, a former Disney chief financial officer and theme parks head, was considered a potential successor to Mr. Iger until he was passed over for the chief operating job in 2016. Mr. Rasulo and Mr. Peltz are Trian’s nominees for the Disney board.

Mr. Perlmutter is the sometimes irascible former chairman of Marvel Entertainment, which Disney bought in 2009 for $4 billion in cash and stock, making him one of Disney’s largest shareholders. He remained chairman of Marvel Entertainment after the deal, but Mr. Iger sidelined him in 2015 by revamping Disney management. Mr. Perlmutter was unceremoniously laid off last year and has since been a vocal critic of Mr. Iger.

Mr. Trump introduced Mr. Peltz to Mr. Perlmutter in 2016 at Mar-a-Lago, where Mr. Perlmutter usually commands a prime dining room table next to Mr. Trump’s. Mr. Perlmutter has been a prominent financial backer of Mr. Trump’s presidential campaigns. Mr. Peltz, too, was a Trump supporter and raised $10 million for him at his Palm Beach estate in February 2020. But the two stopped speaking after Mr. Peltz went on CNBC and denounced Mr. Trump’s efforts to overturn the 2020 presidential election and incite violence on Jan. 6, 2021, as a “disgrace.” His antipathy has only grown since, and Mr. Peltz said he would not raise more money for Mr. Trump.

Still, the falling-out hasn’t dented Mr. Peltz’s friendship with Mr. Perlmutter.

Mr. Perlmutter has entrusted Mr. Peltz to vote his Disney shares, inflaming tensions with the entertainment company. In its defense against the Trian campaign, Disney accused Mr. Perlmutter of bearing Mr. Iger “personal animosity” and blaming him for being fired.

Disney has also suggested that Mr. Peltz is motivated by a grudge against Mr. Iger, a claim that Mr. Peltz has vehemently denied. The company recently told investors that the men were never close friends, and that Disney ended its investment in Trian in 2021, angering Mr. Peltz, because the fund had underperformed the S&P 500 on an annualized basis over eight years. A spokesman for Mr. Peltz and Trian said they didn’t comment on client matters.

Lacking the information that he’d be privy to as a board member, Mr. Peltz doesn’t purport to have a novel solution to the streaming losses that have bedeviled Disney and other media companies trying to make the difficult transition to the direct-to-consumer digital era. He has been frank about his lack of direct experience in entertainment — something Disney has highlighted. But he said experience wasn’t everything. “They just put out five movies in a row that were big losers,” he said.

In Disney, he sees a company with great assets. But he also believes it’s a business crying out for greater operational accountability, more efficiency and better board governance. He considers Disney to be not that different from consumer-facing companies that he has helped turn around, like Heinz and Procter & Gamble.

Mr. Peltz also has better visibility into Disney’s operations than most of his past targets thanks to his alliance with Mr. Rasulo. Many were surprised that Mr. Rasulo would go up against Mr. Iger, his former mentor, in such public combat.

But Mr. Rasulo said in an interview that Mr. Iger’s abrupt departure in 2020 and the choice of the little-known Bob Chapek to replace him left him (and many others) mystified. So did Mr. Chapek’s sudden ouster and Mr. Iger’s return in 2022. Streaming losses soared, and Disney stock plunged.

“I was always a Disney guy,” said Mr. Rasulo, who spent three decades at the company, and the decline was painful to witness. “Something obviously went radically wrong.”

Mr. Rasulo didn’t know Mr. Peltz when they met for breakfast in Los Angeles a year and a half ago, but he said he had liked what he heard. He conducted his own interviews with people who had dealt with Mr. Peltz, and his research bore out what Mr. Peltz had emphasized — that he was a long-term investor looking to fix the company, not break it up.

Mr. Rasulo said he had no ambition to take Mr. Iger’s place as chief executive. He said he believed he could be an objective “voice of clarity” on the board as well as someone with intimate familiarity with the company’s operations and legacy. (Disney has countered that Mr. Rasulo left eight years ago and is out of touch with a radically changed media landscape.)

Mr. Peltz, too, said he looked forward to working closely with Mr. Iger if he gained a board seat. But that hasn’t stopped him from publicly criticizing Mr. Iger’s leadership. Waging his campaign on CNBC, in other media and in a recent whirlwind of visits to major shareholders, Mr. Peltz has argued that Disney grossly overpaid for 21st Century Fox assets in 2019, a $71 billion deal that saddled the company with enormous debt; that Mr. Iger and the board have repeatedly bungled succession planning; and that Mr. Iger has overseen an alarming decline in quality and financial results at the company’s core Disney animation, Pixar and Marvel entertainment units.

“The fact is, the emperor has no clothes,” Mr. Peltz said.

There have been no invitations from Disney to address the board this time.

In a statement for this article, a Disney spokesman said Mr. Peltz “has failed to demonstrate that he comprehends Disney’s strategic position in the modern media business, or to offer any compelling ideas, and we believe his presence in the boardroom would be disruptive and destructive.”

History as a Guide

A recurring issue in the Disney proxy fight will be Mr. Peltz’s investment record, which remains a closely guarded secret. Various academic studies have found that activist investors, on average, don’t generate superior returns over time.

Trian maintains that federal rules prohibit it from publicizing its results. But the firm said that from the time Mr. Peltz joined a company’s board — 11 in all — through the end of 2023, Trian’s investments in those 11 companies generated a 17 percent annualized rate of return. The S&P 500 has returned an annualized 9.5 percent since 2005, when Trian was founded.

Trian said it used that measure — from the date Mr. Peltz joined a board to the present — because the fund took a long-term approach and often continued to own shares after Mr. Peltz or one of his Trian partners left a board. If returns were measured until the date they stepped down, the returns would be slightly higher, it said.

Annualized returns in those companies range from 47 percent (Legg Mason, acquired by Franklin Templeton in 2020, a year after Mr. Peltz joined the board) to 3 percent (Unilever, which was Trian’s most recent investment before Disney and whose board Mr. Peltz joined in 2022).

Trian argues that these returns are what’s relevant to shareholders of the target companies, including Disney. Trian’s own investors haven’t reaped annualized gains that large, in part because the fund isn’t always fully invested and holds cash and shares in other companies.

One investor said Trian gained 12 percent in 2023 (well below the S&P 500’s 24 percent rise) and lost 10.6 percent in 2022 (when the S&P dropped over 18 percent). Disney said Trian’s annualized returns for its pension fund trailed the S&P 500 by 500 basis points, or 5 percent, over eight years. (Trian said that it offered multiple investment and fee options, and that individual investor results therefore varied.)

Still, many investors have been satisfied: Trian’s assets have gone from less than $1 billion when it was founded in 2005 to over $10 billion. Mr. Peltz attributes his investment success to his operational skills and long-term perspective.

“We’re not activists,” he insisted. “We’re not private equity. We’re not looking to just leverage up a business and sell. We’re looking to build a business over the long term. That’s what’s fun.”

Mr. Peltz noted that the average holding period for a Trian position was six years— long by activist standards, though about the same as private equity funds. Some holdings, like Wendy’s, have been much longer.

The Times interviewed a dozen former executives at companies targeted by Mr. Peltz, and all said he had bolstered results, even those who said they had no particular fondness for him and declined to be quoted.

Mr. Winkleblack, who orchestrated Heinz’s defense in the proxy contest, thought it possible, even likely, that he’d be fired once Mr. Peltz gained a board seat. On the contrary, he stayed in his role after he met Mr. Peltz one on one.

“We fought a good fight,” Mr. Peltz told him. “Now let’s go make money for shareholders.” That, in essence, is Mr. Peltz’s philosophy, Mr. Winkleblack said.

After an extensive listening tour, Mr. Peltz backed Heinz’s chief executive, William Johnson, and his turnaround plan. Mr. Peltz subsequently proposed Mr. Johnson, whom he now calls a “great friend,” for the PepsiCo board, and Mr. Winkleblack now serves as a Trian representative on Wendy’s board.

Mr. Peltz’s battle against DuPont was in some ways the beginning of modern-day activism: evolving into a full-blown fight in which an influential proxy firm, ISS, sided with Mr. Peltz while index funds, decisively, sided with the company’s management.

Though Mr. Peltz lost the proxy fight in 2015, DuPont’s chief executive, Ellen Kullman, stepped down not long after. Her successor, Edward D. Breen, developed a warm relationship with Mr. Peltz and embraced much of his strategy.

Mr. Peltz said Trian intended to remain a major Disney shareholder and keep up the pressure even if it lost the proxy battle, and pointed to DuPont as a precedent.

Procter & Gamble put up a spirited defense to Mr. Peltz’s proxy campaign but, after a narrow loss, reluctantly welcomed Mr. Peltz into the boardroom in 2017. Two years later, Mr. Peltz and the company’s chief executive, David Taylor, were heaping praise on each other.

“We’d rather be rich than right, and David has that same attitude,” Mr. Peltz said at a conference sponsored by CNBC and Institutional Investor. “That’s why we’re getting along so well.”

Several executives who have faced Mr. Peltz’s attention said they saw a common theme: He accelerated existing recovery plans, and then reaped credit for the success. Chief executives who get along with him have to swallow their egos — something that might prove difficult for someone as prominent as Mr. Iger, especially given all the recent vitriol.

Many also said that the care and feeding of Mr. Peltz was time-consuming. After Mr. Peltz joined the board of the snack food maker Mondelez International, then-chief executive Irene Rosenfeld created a new executive position to handle some administrative duties while she dealt with Mr. Peltz and other activist shareholders. Still, Mondelez shares rose an annualized 11 percent while Mr. Peltz was on the board, Trian said.

No one The Times interviewed could recall Mr. Peltz’s arriving on a board with bold ideas that no one else at the company had ever thought of.

“He’ll offer thoughts. He’ll have a thesis,” as one former chief executive said. “But the reality is no one can come from the outside and really know a well-managed company. They’re not going to walk in and tell them something they’ve never thought of.”

Still Rocking the Boat

Which is why, when all is said and done, Mr. Peltz may never escape the unsavory reputation that still dogs him, at least in some quarters, and why it’s unlikely he’ll ever be mentioned in the same breath as Mr. Buffett, whose Berkshire Hathaway acquires companies only in friendly deals.

Mr. Peltz seems oblivious that even when he is invited onto a board, it’s often under duress: better to have him on the inside, with a director’s duty to shareholders, than on the outside waging a proxy war.

Mr. Peltz “may be a very smart investor and a very savvy operator, but he rocks the boat,” Mr. Elson of the University of Delaware said. “People who rock the boat are naturally going to cross swords with the establishment.” (Mr. Elson’s family is also a pillar of Palm Beach high society; his father, Edward, was U.S. ambassador to Denmark in the 1990s, and his mother, Susie, was chair of Palm Beach’s Society of the Four Arts.)

“No one likes to be told you’re doing something wrong. That’s just human nature,” Mr. Elson continued. “When that happens, you’re viewed as a dissident, an irritant. Irritants aren’t loved.”

Loved or not, Mr. Peltz has Mr. Elson’s admiration, he said, even if he doesn’t always agree with Mr. Peltz’s approach. “Irritants,” he said, “are important to the proper functioning of a capitalist society.”
 
What should I do if I have not received ballots yet?
Edit: figured it out.
 
Last edited:
What should I do if I have not received ballots yet?
Whatever brokerage firm has your stock likely has voting instructions on their website. Check for messages there. I've probably gotten 2 dozen emails from Merrill Lynch reminding me to vote.
 
https://www.hollywoodreporter.com/m...anda-4-dune-part-two-lead-weekend-1235854014/

Box Office: ‘Kung Fu Panda 4,’ ‘Dune 2’ Lead Weekend as New Entries Lack Bite

Mark Wahlberg-starrer 'Arthur the King' is opening on the low end of expectations, while specialty satirical comedy 'The American Society of Magical Negroes' is struggling badly.

by Pamela McClintock
March 16, 2024 - 10:13am PDT

Kung Fu Panda 4 and Dune: Part Two are still going strong at the box office, with both movies celebrating milestones this weekend.

From DreamWorks Animation and Universal, the Jack Black-voiced Kung Fu 4 is expected to top the chart with an estimated $31.5 million-plus from 4,067 theaters as it leaps past the $100 million mark to finish Sunday with a pleasing 10-day domestic total of roughly $109.4 million, based on Friday and early Saturday grosses (numbers for all films could shift by Sunday). The pic is looking at a respectable decline of 46 percent.

Not far behind is Denis Villeneuve’s Dune 2, now in its third weekend. The Legendary-Warner Bros tentpole is the first release of 2024 to clear $200 million domestically. The pic is expected to gross around $29 million from 3,847 cinemas for the weekend, putting its North American cume north of $205 million through Sunday.

New offerings this weekend include feel-good canine adventure drama Arthur the King, featuring an ensemble cast led by Mark Wahlberg. The Lionsgate and eOne film is opening on the low end of expectations with around $8 million from 3,003 cinemas. Tracking had suggested $10 million or more, but the film’s backers believe an A CinemaScore from audiences will result in long legs.

Simu Liu, Juliet Rylance, Nathalie Emmanuel, Ali Suliman, Paul Guilfoyle, and real-life adventure racer and TV host Bear Grylls, who plays himself, round out the cast. The film follows a pro adventure racer (Wahlberg) who forms an unbreakable bond with a dog named Arthur after he and his team travel 435 miles over 10 days.

Lionsgate is also taking the fourth spot on the chart with Blumhouse’s supernatural horror pic Imaginary, which is on course to gross $5.2 million or from 3,118 cinemas in its sophomore outing for a 10-day cume of $18.1 million. The film’s decline is a scant 42 percent.

Coming in No. 5 is Angel Studio’s faith-themed Cabrini, which is falling off a steep 62 percent in its second weekend. The biographical drama about a real-life 18th-century Catholic missionary is on course to gross an estimated $2.7 million from 2,850 theaters for a 10-day domestic tally of $12 million. Angel Studios is also home to Monteverde’s 2023 surprise blockbuster and cultural sensation Sound of Freedom.

The forecast is even worse for Focus Features’ The American Society of Magical Negroes, the weekend’s other new wide offering after Arthur the King. The specialty film is expected to place No. 14 with an estimated $1.25 million from 1,143 theaters. It tells the tale of a young man who was recruited into a secret society of magical Black people who dedicate their lives to a cause of utmost importance: making white people’s lives easier.

Directed by Kobi Libii, American Society of Magical Negroes stars Justice Smith, David Alan Grier, An-Li Bogan, Drew Tarver, Michaela Watkins, Rupert Friend and Nicole Byer.

Focus can take solace in last weekend’s Oscars support for The Holdovers. The Alexander Payne-directed movie was up for multiple top awards, including best picture, with Da’Vine Joy Randolph winning for best supporting actress.

Among other top award contenders, Oppenheimer‘s Oscars sweep prompted Warners to rerelease Christopher Nolan’s movie in more than 1,300 theaters domestically. Rereleases don’t generally generate huge grosses — exceptions include Avatar — and Oppenheimer looks to earn roughly $333K for the weekend. The film, readily available to stream on Peacock and Max, is the top-grossing best picture Oscar winner in 20 years after amassing nearly $959 million at the global box office. It’s unlikely, however, that it will be able to clear $1 billion even with this rerelease.
 
https://www.yahoo.com/entertainment/marvel-exec-explains-shift-away-002403011.html

Marvel Exec Explains Shift Away From Creating ‘as Much as We Could for Disney+, as Quickly as We Could’
by Stephanie Kaloi
Sat, March 16, 2024 at 7:24 PM CDT


The 2019 launch of streaming platform Disney+ changed a lot for Marvel Studios, though those developments may not have been immediately obvious to fans. Marvel’s head of streaming, television and animation Brad Winderbaum said in an interview with the “Phase Zero” podcast, “Frankly, in all honesty, there was a mandate to kind of create as much as we could for Disney+, as quickly as we could.”

“And then there was a shift,” Winderbaum continued. “And all of a sudden, we have to start spreading our release dates out. So, that really accounts for a lot of the delays. Now, we’re using that time. We’re not sitting idle.

“So, it’s like it stays in the oven. You can bake certain things a little more. It’s actually, I think, ultimately, it’s only going to make things better. But, most of it is just frankly shrapnel from the business.”


Yes, even Marvel isn’t immune from changes in the overall entertainment industry. Part of this change is that the studio is actively developing more projects than it will likely actually produce, which is how Hollywood traditionally has worked but hasn’t been the approach at Marvel.

“We’re more like a traditional studio now. We’re developing more than we actually will produce,” Winderbaum continued. He then agreed with the interviewer’s enthusiasm about Marvel’s hero Nova: “There are plans to develop Nova. I love Nova, too. I love Rich Rider, too. I hope it gets to the screen.”

“The world is always chaos,” Winderbaum added. “There’s always things. You’ve got to conjure these things to make them happen, but I would love to see a Nova show, one day.”

Winderbaum spoke about the unexpected departure of “X-Men ’97” showrunner Beau DeMayo from the series both with “Phase Zero” and in a Friday interview with Entertainment Weekly. He told EW, “I can’t talk about the details, but I can say that Beau had real respect and passion for these characters and wrote what I think are excellent scripts that really the rest of the team were able to draw inspiration from [to] build this amazing show that’s on screen.”

DeMayo’s exit from the series came after he completed work on season 1 and had begun work on season 2, including writing scripts for the whole season. Ahead of his dismissal, DeMayo’s social media accounts were taken offline and he was removed from planned press conferences.

You can watch the full “Phase Zero” interview with Marvel’s Brad Winderbaum at the top of this story.

The post Marvel Exec Explains Shift Away From Creating ‘as Much as We Could for Disney+, as Quickly as We Could’ appeared first on TheWrap.
 

GET A DISNEY VACATION QUOTE

Dreams Unlimited Travel is committed to providing you with the very best vacation planning experience possible. Our Vacation Planners are experts and will share their honest advice to help you have a magical vacation.

Let us help you with your next Disney Vacation!











facebook twitter
Top