Daily Disney Disaster: Analyst Estimates Disney Lost Half a Billion Dollars on Their Woke Dud Movies in November Alone

The Bee:

At some point, you'd think Disney's investors would begin objecting to Disney setting their money on fire.

After going over daily returns for Wish, Valliant Renegade notes that the film did not even bring in $1 million in its first Monday. In fact, it suffered an 83% decline from Sunday to Monday. On Sunday it grossed $4.4 million. By Monday, it only grossed $745,473.

"I cannot remember the last major Disney production whose first Monday was under a million dollars," he said. "We'd probably have to go back at least a decade or two. Oh wait, last year, Strange World. Good job, Disney. Killing it in November. I guess I forgot Strange World existed just like everybody else."

...

Valliant Renegade then noted how The Walt Disney Company has burned through so much money just on these two films in November 2023, "So if The Marvels finishes out slightly above $200 million and Wish somehow magically works it way up to $150 to $200 million then that means that these two movies combined may only actually recover the monies that The Walt Disney Company spent just to market these things into theaters. About $100 million a piece is a fair average in 2023 for The Walt Disney Company, which is lower than what it was previously because their movies used to be bigger hits, but Disney has since seemingly pulled back on a lot of those marketing dollars, but it's still a big spend nonetheless."

"That means the $200 million the Disney company spent on Wish and the $300 million they spent on The Marvels is completely gone," he asserted.

There's some speculation from scoopers and Disney-connected "reporters" that Kevin Feige is planning to exit the franchise he destroyed.

And thinking about destroying one that's already been destroyed.

MyTimetoShineHell is a Disney scooper. On November 7, the account posted this unconfirmed claim:

MyTimeToShineHello @MyTimeToShineH

Kevin Feige is thinking about leaving Marvel after Secret Wars and take over the Star Wars franchise

The connected "reporter" about the MCU, who recently wrote a book that praised Kevin Feige so outrageously he was most likely a main source for it, agrees that Feige is eyeing the exits and, for some reason, deciding that Star Wars is a more viable franchise.

Joanna Robinson, insider and co-author of the recent Marvel Studios tell-all book, MCU: The Reign of Marvel Studios was a recent guest on Matthew Belloni's podcast The Town.

During her interview, she was asked how much longer she thought Marvel Studios president and chief creative officer Kevin Feige wants to do his job. Robinson responded that the place where Feige wants to be is "making movies:"

"I don't know, because for a time, I was wondering if he would want to take over Disney In the ongoing [Bob] Iger succession question. No, but absolutely not, right? Because he wants to make movies. Like, whatever he does, he wants to directly have his hand in making movies."

Belloni interjected, remarking that he "could see [Feige] taking over Lucasfilm," although Robinson actually agreed with that comment:

"That's what I'm saying. He could take over Lucasfilm because he is more of a Star Wars guy than he is a comic book guy. So, like, if a vacancy opens up at Lucasfilm..."

At that point in the conversation, Belloni chimed in again, asserting that they were not making any sort of suggestion that current Lucasfilm head Kathleen Kennedy should step down from her role and then immediately contradicting himself.

While she could see Kevin Feige possibly making the jump to Star Wars if the opportunity were to present itself, she feels it's far more probable that he stays put at Marvel Studios.

"If Kathy is tired and they can blame her for that, then that is something that I think Kevin would want to do, but other than that, I think he sticks with the empire that he built."

Disney's latest financial filings make the disclosures that they face risks due to their
"social goals" not aligning with "consumer tastes."

In its annual SEC report, Disney acknowledges that "we face risks relating to misalignment with public and consumer tastes and preferences for entertainment, travel and consumer products."

...

"Generally, our revenues and profitability are adversely impacted when our entertainment offerings and products, as well as our methods to make our offerings and products available to consumers, do not achieve sufficient consumer acceptance. Further, consumers' perceptions of our position on matters of public interest, including our efforts to achieve certain of our environmental and social goals, often differ widely and present risks to our reputation and brands."

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For shareholders, it may seem counterintuitive that corporate executives would trade off profits for political or social agendas. However, it does serve as a rationale for individual corporate executives who are professionally advanced when they champion such causes. For example, when Alissa Heinerscheid, vice president of marketing for Bud Light, pledged to drop Bud Light's "fratty reputation and embrace inclusivity," she was heralded by colleagues, even though her move went on to tank that brand as a whole. Indeed, Bud Light has still not recovered from the loss of billions in profits, market share, and overall market value.

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The question is how long Disney (or its shareholders) can tolerate falling revenues tied to its "misalignment with the public." It is a massive corporation and it can lose billions before facing any truly dire decisions.

Speaking of a Disney property: Doctor Who/Whom.

Yes, that's right, I forgot: Doctor Who/Whom is now distributed by Disney, as the BBC reminds us:

A big change since the last season is the fact that Disney+ is now the distributor for Doctor Who internationally. A deal between Disney and the BBC was announced last year and it presumably means the show has a much bigger budget than in the past; Davies told GQ it was "more than I've ever had to work with". So can we see that money on the screen? Well, no, not really. Not yet. There might be a few more extras in the battle scenes but the special effects are unremarkable.

So Disney comes in with a huge cash infusion for Doctor Who's budget and immediately the show transitions to be hardcore transgenderism-for-children propaganda.

Coincidence? Sure. Sure.

The BBC produces the show, of course. And the BBC's own reviewer has to admit the show kinda sucks and is now all about The Message. The reviewer actually uses capital letters to signal "The Message" should be spoken in a loud dogmatic voice, the way Critical Drinker intones it.

But if you've been indifferent to Who, this won't be the episode to convert you. And if you're altogether new to the show, you'll probably wonder what all the fuss has been about.

And although the show has always been progressive -- look at the number of stories over the decades about, for example, threats to the environment -- this special is preachy, and by the end, little more than a delivery system for The Message.

Again, that's not the Critical Drinker saying that -- that's the BBC's own reviewer.

The BBC and various Copers are trumpeting the special's ratings:

It's a huge week for Doctor Who - and the overnight ratings for the first 60th anniversary special, The Star Beast, have proven it.

The first special, which saw David Tennant and Catherine Tate return to the sci-fi after 15 years, has become the biggest drama launch of 2023 with an overnight audience of 5.08 million.

It's the biggest Doctor Who overnight figure since the 2019 New Year Special - Resolution.

ThatParkPlace.com reports what the Cope Artists hide from the public: this "triumphant" ratings bonanza is more than two million viewers less than the ratings of the woeful Doctor Karen era.

Sadly, those fans apparently didn't bother reading the rest of the article, which went on to clarify that the special was soundly trounced by something called "Strictly Come Dancing" that brought in 7.67 million viewers.

Never letting facts get in the way of an approved narrative however, woke Who fans grabbed on to the fact that it was still "the biggest Doctor Who overnight figure since the 2019 New Year Special -- Resolution", seeming to forget that: 1) Resolution was the first special featuring the female Doctor before her catastrophic series and the ratings collapse of the show and 2) that special back in 2019 actually brought in 7.13 million viewers, 2 million more than the one which just aired.

The ratings level of this "triumphant" return is about the same as at the end of the Peter Capaldi run. And the BBC considered those ratings to be so low that they they had to do something dramatic to shake the series up, else it be cancelled. And they wound up making Doctor Who transgender, casting a woman.

They got an immediate ratings boost from the stunt, but then the rating began to fall until they were even lower than those of the end of the Peter Capaldi run.

And now the new "triumpant" return of David Tennant scores a 5.08 million rating -- losing the night, but beating out (checks notes) "I'm a Celebrity, Get Me Out of Here" which had 4.83 million viewers.

Everything Woke Disney touches turns to shit.

posted by Disinformation Expert Ace at 03:43 PM

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