Réorganisation MAJEURE et HISTORIQUE de The Walt Disney Company

J'y vois le genre de synergies qui existaient déjà avec les chaines télé, genre Phinéas et Ferb qui ont eu leur point photo dans les Parcs US... Mando qui sera intégré dans les spectacles, Grogu à un point photo... Bref, de quoi capilatiser sur les succès de D+ et soutenir ses nouveautés.

Oui donc rien de nouveau. Les fort succès ont toujours eu une place dans les parcs.
Sauf que dans la grand majorité les DA vieillisse mieux que les films. Donc les référence des films d'animations resterons plus importante.

En effet, les synergies entre les parcs Disney et les productions récentes des autres filiales ont toujours été légion et les exemples ne manquent pas : le Roi Léonidas apparaît dans la "Main Street Electrical Parade" seulement quelques mois après la sortie de "L'Apprentie Sorcière" en salles (1972), le (douteux) spectacle nocturne "World of Color - Winter Dreams" centré sur "La Reine des Neiges" avait débuté quelques semaines seulement avant la sortie du film en salles aux États-Unis (2013), le 5e anniversaire (1997) de Disneyland Paris avait pour thème "Le Bossu de Notre-Dame" sorti seulement quelques mois auparavant au cinéma (1996), Paris avait également créé en 2019 un musical de 30 minutes autour du film "Le Roi Lion" durant l'été de la sortie de son remake… Et n'oublions bien sûr pas Star Wars: Galaxy's Edge qui ouvre en 2019 au beau milieu de la 3e trilogie tout en prenant canoniquement place au milieu de celle-ci.

Et encore, ces exemples (spectacles et défilés très lourds technologiquement parlant, spectacles de type "Broadway", campagnes marketings qui durent une année entière, zones ultra-thématisée qui peuvent dépasser les coûts de production des films dont elles sont tirées…) sont les plus élaborés puisqu'ils nécessitent une longue préparation en amont. (De mémoire, Star Wars: Galaxy's Edge a été conçu plus ou moins en même temps que la 3e trilogie "Star Wars" et annoncé quelques mois avant la sortie de l'épisode 7.) On a pu voir passer des synergies plus modestes, entre les apparitions furtives de personnages dans les parcs (telle Tiana de "La Princesse et la Grenouille" à Paris), les rencontres avec les personnages d'un film ou d'une série "en avant-première", des mini-défilés avec un véhicule et quelques danseurs (voire pas de véhicule du tout), des menus et plats spéciaux à la carte des restaurants, des chambres d'hôtels réthématisées pour l'occasion (avec offres et prestations spéciales), des évènements spéciaux ("Monsters University" a été soutenu par une ouverture de certains parcs américains 24h d'affilée), et bien sûr des produits dérivés en tout genre, de toute qualité et pour tous les budgets disponibles des mois avant la première du film ou de la série.
Même les jeux vidéos et leurs DLC peuvent y passer par la case "synergie avec les parcs" (en l'occurrence le DLC "Re Mind" de "Kingdom Hearts III" ainsi que "Kingdom Hearts Re:coded"). Pour le meilleur et pour le pire…

À voir si ce genre de synergie fonctionne avec Disney+. Créer une expérience de qualité dans les parcs (qui se savoure uniquement sur place) en même temps que son matériau d'origine (film, série, jeu vidéo…) alors que celui-ci est toujours sujet à modification selon un calendrier et des échelons bien différents, c'est risqué (ne serait-ce que pour éviter les spoilers et les fuites). Mais si la date de sortie de ce matériau sur Disney+ peut rapidement changer pour une raison ou une autre, bonjour les maux de têtes pour les équipes qui travaillent sur les expériences dérivées au sein des parcs.

The Walt Disney Company a confirmé qu'elle déplacera environ 2.000 emplois de son siège social californien vers la région du lac Nona au Sud-Est de l'aéroport international d'Orlando au cours des 18 prochains mois :

Citation :

DISNEY IS COMING TO LAKE NONA

The Walt Disney Co. has confirmed it will relocate roughly 2,000 jobs from its California headquarters to Lake Nona throughout the next 18 months.

Most of the Disney Parks, Experiences and Products professional roles based in southern California that are not fully dedicated to Disneyland Resort, or in some cases the international parks business, will be asked to relocate to Orlando, said Josh D’Amaro, chairman of Disney Parks, Experiences and Products.

The move to the Orlando regional campus is expected to take place through the end of next year. The company did not release a specific location or opening date.

“As someone who has moved with my family from California to Florida and back again, I understand that relocation is a big change, not only for the employee but also for their families,” D’Amaro wrote in a letter to staffers. “Therefore, moving these roles to Central Florida will take place throughout the next 18 months, providing flexibility in timing to accommodate individual situations and needs.”

A new Disney campus in Orlando’s Lake Nona community will be home to more than 2,000 professional employees relocating from California, the company revealed Thursday afternoon.

“This new project will create a dynamic environment to support our expanding business — a brand-new regional campus which will be built in the vibrant Lake Nona community of Orlando, Florida,” D’Amaro said in the letter. “With more than 60,000 Cast Members, Imagineers, and employees, Central Florida has long been home to many of our businesses including the Walt Disney World Resort and most of our Disney Signature Experiences team.”

Lake Nona Social Magazine - 15 juillet 2021.

https://lakenonasocial.com/disney-is-coming-to-lake-nona?fbclid=IwAR29WI58bVX0EYIS_QyU4C-v2RMn9aoL0c8SKFHp29aVbTHLwoqtDsQZftQ

Citation :

Lake Nona is a smart and connected community where residents benefit from a vibrant culture, robust programming and innovative collaboration.

www.lakenona.com

Je me permet de partager un article (en anglais) très intéressant publié aujourd'hui sur le Hollywood Reporter (site d'info américain spécialisé sur les médias) où l'on apprend pas mal de choses, notamment sur la réorganisation de la WDC et surtout la transition entre Bob et Bob.
Le plus inquiétant (et ce qui vient d'une certaine façon confirmer les avis de beaucoup de fans) c'est qu'avec cette reorganisation Disney s'éloigne de ce qui a fait son succés, c'est a dire, la créativité, pour miser le tout simplement dans les chiffres et résultats financiers.
C'est assez passionant à lire: Bob Iger’s Long Goodbye

En juillet dernier The Walt Disney Company confirmait qu'elle déplacerait environ 2.000 emplois de son siège social californien vers la région du lac Nona au Sud-Est de l'aéroport international d'Orlando au cours des 18 prochains mois.

Cette décision concerne également Walt Disney Imagineering dont le siège sera transféré, près de 70 ans après sa création sous le nom de WED Enterprises, de Glendale en Californie à Lake Nona en Floride.

Walt Disney Imagineering maintiendra des bureaux et ateliers en activité dans les différents resorts Disney dans le monde entier ainsi que sur les sites de développement des navires de la Disney Cruise Line

Certains Imagineers auront ainsi la possibilité de rester en Californie en étant transférés de Glendale à Disneyland Resort à Anahein, tandis que d'autres s'établiront en Floride ou quitteront l'entreprise de leur propre volonté (comme l'imagineer Kevin Lively l'a récemment annoncé).

Citation :

Disney Imagineering relocation shifts creative balance of power from California to Florida

Walt Disney Imagineering will be based at the new Lake Nona campus in Orlando, Florida near the Walt Disney World resort, according to a Disney Parks, Experiences and Products spokesperson.

The secretive creative lab started seven decades ago by Walt Disney for the construction of Disneyland will soon bid farewell to Southern California when the headquarters for Walt Disney Imagineering moves to Central Florida.

Walt Disney Imagineering will be based at the new Lake Nona campus in Orlando, Florida, near the Walt Disney World resort, according to a Disney Parks, Experiences and Products spokesperson.

An opening date has not been set for Disney’s Lake Nona campus. Imagineering’s relocation from California to Florida is expected to continue through the end of 2022.

Imagineering won’t relocate to Florida until the Lake Nona campus is ready due to the specialized space requirements necessary for Audio-Animatronics and other technological needs, according to a Disney Parks spokesperson.

Disney Parks, Experiences and Products chairman Josh D’Amaro wrote a letter to employees in July describing the upcoming Lake Nona relocation as a “catalyst that sparks growth, collaboration and new ideas for the future.”

The new 60-acre Lake Nona campus represents a $864 million investment by Disney, according to the Orlando Business Journal.

The Lake Nona campus will give Imagineering and other Disney Parks teams the opportunity to be more collaborative from a creative and operational standpoint, D’Amaro wrote in the letter.

Kirstin Makela (Walt Disney Imagineering art director)

Cost Savings

D’Amaro cited Florida’s business-friendly climate, lower cost of living and lack of a state income tax along with the region’s culture of hospitality and active lifestyles as reasons for the move.

Disney can take advantage of significant tax savings by moving its parks division to Florida, according to Martin Lewison, a theme park expert at Farmingdale State College in New York.

“It’s not crazy to think that the company can significantly reduce costs by moving Imagineering,” Lewison said via email. “Southern California is an expensive place to do business. It may be cheaper to operate in Central Florida.”

Relocating Imagineering to Florida may also save Disney a great deal of money on travel, according to Lewison.

“Walt Disney World is much larger than the Disneyland resort and properly servicing Disney World means a lot of flying back and forth from California to Florida,” Lewison said. “Presumably some of this travel will be avoided and such costs can be recovered.”

Imagineers have been notified if their roles are moving to Florida and they have until the end of the year to decide if they are willing to relocate, according to a Disney Parks spokesperson.

Imagineering has not yet determined how many cast members will be moving to Florida, according to a Disney Parks spokesperson.

Most Southern California-based Imagineering roles not dedicated to Disneyland or some international parks will be relocated to Florida. Imagineering is still determining which employees will be based in Lake Nona.

“The talent that they want to keep, they’ll make it worthwhile for them to move or create a virtual system for them,” former Disney executive Duncan Dickson said by phone. “Some people will see it as an opportunity and some people will see it as, ‘Oh, my life is over.’ It’s kind of the old glass half full thing.”

Tracey Noce (creative director at Walt Disney Imagineering) et Roger Gould (creative director, theme parks at Pixar Animation Studios).

Relocation Disruption

Disney has acknowledged the relocation of the Imagineering headquarters from California to Florida will disrupt the lives of its employees and their families and could lead to the loss of creative talent who choose not to move and the potential poaching of key executives by other firms, according to Orlando Business Journal.

The upcoming move to Florida has caused some Imagineers anxiety while others have already decided not to relocate, according to Carissa Baker, a University of Central Florida assistant professor of theme park and attraction management.

“This is the people part of the equation,” Baker said from Florida via email. “I understand this worry well, as I made the move from Southern California to be in the theme park epicenter a bit over a decade ago. There are a lot of considerations when thinking about whether to move your life across the country including family, financial and cultural.”

Making the decision to move from the Los Angeles area to the Orlando area won’t be an easy choice for many Imagineers, according to Baker.

“Both areas have their upsides and downsides,” Baker said. “Florida has a lower cost of living and no state income tax — and no earthquakes. But there are other challenges such as weather and inferior public transportation.”

Some Imagineers will choose to leave their positions rather than relocate, according to Lewison.

“Some of those Imagineers will be senior,” Lewison said. “Senior Imagineers probably carry large salaries and benefit costs.”

Disney has said the average annual wage for employees relocating to Florida will be $120,000.

Imagineers who opt to stay in California will likely find employment, especially with their Disney tenure on their résumés, according to Baker. But staying in California will be a harder choice for Imagineers who specifically want to work for Disney, Baker said.

There will be no shortage of theme park creative professionals willing to fill the void left by any exodus from Imagineering that would take with it a wealth of institutional knowledge, according to Baker.

“This move will impact creative labor in both states,” Baker said. “It will also affect the housing market as well as the local economy.”

Joe Rohde (Executive Designer and Vice President Creative at Walt Disney Imagineering).

Low Morale

Morale among current Imagineers has “never been lower” as Disney executives continue the “systematic destruction” of the creative arm of the company, according to WDW News Today.

“For some, the decision has already been made, and they won’t be heading southeast,” according to WDW News Today. “For others, a ‘yes’ to the move was given in hopes that the Lake Nona relocation will fail to materialize or at least fail to materialize quickly, leaving them a few more months, maybe even years of employment at WDI before they have to pack a bag.”

Imagineering presidents Bob Weis and Barbara Bouza looked “distraught” when they broke the Lake Nona relocation news to Imagineers at the Glendale campus, having been told themselves of the move just a few days before by Disney brass, according to WDW News Today.

“The perception of their peers was that they took the decision from the company ‘very personally,’” current Imagineers told WDW News Today.

Without seeing Disney’s financial spreadsheets, Lewison can’t say if Disney is trying to downsize Imagineering.

“Imagineering has certainly been downsized before,” Lewison said. “Theme park designers and builders are often looking for work after the completion of major projects.”

The initial plan in July was to move select Imagineering teams to Lake Nona, but that changed in September when the decision was made that “all of Imagineering was going to be going,” according to WDW News Today.

“The internal rumblings on this change are that so few are willing to make the move, that it just makes sense to move all who are willing to go,” according to WDW News Today. “Some estimate as low as just 15% or less of employees will remain when all is said and done.”

A large-scale exodus of talent is expected early next year when Imagineers must decide if they are moving or not, according to WDW News Today.

“In the end, it is clearer each day to the public what the Lake Nona move is — and Imagineers have known it since day one,” according to WDW News Today. “It is not truly a relocation. It is a downsizing, cost-cutting measure.”

Jungle Cruise in Disneyland (Anaheim, California).

Emotional Farewell

Imagineer Kevin Lively, who shepherded the recent update of the Jungle Cruise attractions, announced in mid-October he would not be making the move to the Lake Nona campus after looking “long and hard at the possibility.”

“After 14 years at Disney, I’m going to be hanging up my mouse ears,” Lively wrote on Twitter. “I never thought I’d be stepping away, but sometimes life throws you a curveball.”

The decision to leave Imagineering and Disney was “really hard” for the former Jungle Cruise skipper.

“When someone puts an end date on something you love as much as I love what I do, it can feel like your world is crumbing in around you,” Lively wrote on Twitter.

Imagineering leadership made it “abundantly clear” the door remains open while Lively steps away for awhile, he wrote.

“Disney has literally made my dreams come true,” Lively wrote on Twitter. “I’ve been able to follow in the footsteps of certified legends and was honored to carry on Walt’s legacy. I had a pretty good run.”

Lively will be stepping away from Imagineering to focus on some “pretty cool opportunities” in his home state of California.

Kristina Dewberry  (Walt Disney Imagineering construction manager)

Expand and Contract

Walt Disney Imagineering and Universal Creative regularly poach talent from each other as one project ends and another begins, according to Dickson, a retired University of Central Florida associate professor of theme park and attraction management.

“It’s an incestuous business,” Dickson said. “Imagineering has always been the group that expanded and contracted as projects came in. They know that they live project to project. That’s the life. That’s what they signed up for.”

Imagineering has long been a revolving door of creative talent that ebbs and flows as design teams grow and shrink with each major project at Disney parks around the globe. Imagineers often take their creative talents to other major theme park think tanks and smaller Southern California design studios between projects or strike out on their own to start their own firms.

Southern California is home to many attraction design and themed entertainment studios like Thinkwell Group (Los Angeles), BRC Imagination Arts (Burbank), Landmark Entertainment Group (Altadena) and Super 78 Studios (Silver Lake).

The smaller studios often work for Disney, Universal, SeaWorld, Six Flags, Cedar Fair and Legoland as the major theme parks’ creative teams hire specialists and support services for larger projects.

Scott Trowbridge (Portfolio Creative Executive for Walt Disney Imagineering)

Florida Bound

The attraction design and themed entertainment industry that grew up in Southern California in Imagineering’s shadow has long been expanding into Florida, Europe, Asia and the Middle East — taking on projects around the world and setting up satellite shops wherever business boomed.

“With Disney leaving L.A., the designers’ landscape for storytelling and themed attractions continues to shift,” TDAC International themed entertainment consultant Bart Dohmen wrote for Blooloop. “The move of WDI leaving L.A. will cause further erosion of the themed entertainment ecosystem. This will not help the many L.A.-based U.S. attraction designers.”

Universal Creative — Imagineering’s chief rival — was founded in the 1960s shortly after Universal Studios Hollywood opened. The creative arm of Universal’s theme parks moved to Orlando in 2001.

What remains of Southern California’s attractions industry and the talent that powers it after Imagineering departs may eventually follow Disney and Universal to Florida — with both of the main training grounds for contractors and freelancers soon to be based in Orlando.

Central Florida is already home to a host of theme park design, engineering and development studios filled with scores of former Imagineers — including Dynamic Attractions, Falcon’s Creative Group, Holovis, Oceaneering and Nassal.

Imagineering’s move to Florida will prompt other theme park design studios to consider relocating or adding a branch in the Orlando area, according to Baker.

“Universal Creative and many smaller firms are either already based here or have a satellite office in Central Florida,” Baker said from Florida.

Tom Holland (Spider-Man) et Brent Strong (Walt Disney Imagineering executive creative director).  

Lost Industry

The demise of Imagineering’s storied history in Southern California marks another great American industry that has left town for a new home, according to Lewison.

“It’s the story of America, on repeat,” Lewison said. “California must be getting a little used to this by now. Every movie or show I see these days seems to be filmed in Canada, not California.”​​

The birthplace of the modern theme park can be traced to Southern California — thanks to the 1955 debut of Disneyland. The first Disney, Universal and SeaWorld parks along with one of the oldest theme parks in the United States (Knott’s Berry Farm) and the roller coaster capital of the world (Six Flags Magic Mountain) all call Southern California home.

“The important beginnings of the contemporary theme park industry are in Southern California,” Baker said. “However, Orlando is now a central location for the industry.”

Walt Disney created the in-house think tank in the early 1950s as a way to blend creative imagination with technical know-how. The assembled team — known then as WED Enterprises for Walter Elias Disney’s initials -—- was tasked with planning, designing and building Disneyland.

By 1961, WED Enterprises had outgrown its quarters on the Disney Studios backlot in Burbank and moved to an industrial center in Glendale — which has remained Imagineering’s home until today. In 1986, WED Enterprises was renamed Walt Disney Imagineering — a blending of the words imagination and engineering.

All 12 Disney theme parks around the world and the attractions that fill them have been largely conceived, planned and designed in Southern California by Imagineering.

Walt Disney et Marc Davis (character designer at Walt Disney Imagineering).  

Continuous Shift

The shift of the theme park epicenter from California to Florida has been going on for 50 years since the Magic Kingdom opened in 1971 as an “East Coast Disneyland.”

In 2019, the International Association of Amusement Parks and Attractions moved its global headquarters to Orlando — where the IAAPA Expo industry trade show is held each year.

Today, Central Florida bills itself as the “theme park capital of the world” with Disney, Universal, SeaWorld, Busch Gardens and Legoland operating flagship parks in the region.

Half of Walt Disney Imagineering cast members work outside the Burbank and Glendale offices with many working on projects at global sites, according to a Disney Parks spokesperson.

Kathy Mangum (Senior Vice President at Walt Disney Imagineering) et Kevin Rafferty (Creative Director and Show Writer at Walt Disney Imagineering).

What Remains

Disney Parks, Experiences and Products intends to maintain the Walt Disney Imagineering campus in Glendale, according to a company spokesperson.

Disney remains committed to its presence in California and its continued investment in the Disneyland resort, D’Amaro wrote in the letter.

Expanding Imagineering’s Glendale campus would have been expensive, according to Dickson.

“If you’re going to consolidate and enlarge the group, Florida’s probably a smarter business decision than Southern California,” Dickson said. “There’s space so you can expand, which in California is often very difficult.”

Dickson anticipates Imagineering’s Glendale campus will likely consolidate and shed some excess properties.

“I don’t think Imagineering will cease to exist in California,” Dickson said from Florida. “There will always be an Imagineering arm out there, just as there has always been an Imagineering group out here.”

The extra pixie dust that Imagineering has sprinkled on the Disneyland resort through the years may now rain down on Walt Disney World, according to Lewison.

“Some will look at it as a decimation of Imagineering,” Lewison said. “Others will say that the Disneyland resort’s loss is going to be Disney World’s gain.”

Imagineering will continue to design and build projects for both Disneyland and Disney World jointly or separately depending on the needs for each resort, according to Baker.

“The sheer size of Walt Disney World means there is more space for new projects, but the massive popularity of Disneyland will mean they should maintain a healthy pipeline,” Baker said.

Walt Disney Imagineering will continue to maintain offices at Disney theme park resorts and cruise ship development locations around the world with some Imagineers moving to the Disneyland resort in Anaheim, according to a Disney Parks spokesperson.

“The folks in Anaheim don’t have to worry too much,” Dickson said. “They will still get their project support. There will still be an Imagineering office there in Anaheim.”

https://www.ocregister.com/2021/10/29/disney-imagineering-relocation-shifts-creative-balance-of-power-from-california-to-florida/

Citation :

Disney employees begin relocating from California to Florida: 'Business-friendly climate'

Disney announced in July that it would move 2,000 employees from California to Florida in part because of "Florida’s business-friendly climate," chairman of Disney Parks, Experiences and Products, Josh D’Amaro, said at the time.

He added that expanding Disney in Florida "makes sense" because of its lack of state income tax among other business issues, such as collaborative efforts for the company.

The jobs will be located at a new Disney campus being built in Lake Nona, a community in Orlando. The move was set to take place over 18 months, starting in July.

"It’s not just 2,000 employees, it’s 2,000 employees, their families and extended families,"

This year, California reported its first yearly population decrease in the state’s history. All in, California’s population fell by more than 182,000 in 2020. Many have cited the state’s high taxes, and how it’s not affordable for families.

Barbara Bouza remplace Bob Weis à la tête de Walt Disney Imagineering. Barbara Bouza a rejoint la Walt Disney Company en juin 2020, supervisant depuis le mois de mars de cette année les opérations quotidiennes, le développement et la livraison des projets sous la direction de Bob Weis. La carrière de ce dernier au sein de Walt Disney Imagineering s'est développée en deux temps, de 1980 à 1994 et de 2008 à aujourd'hui. Il avait pris la présidence de la filiale en janvier 2016 et devrait poursuivre dans un nouveau rôle, celui d'ambassadeur international officiel de Walt Disney Imagineering (Global Imagineering Ambassador).

Citation :

Barbara Bouza is president of Walt Disney Imagineering, where she heads the global creative, design and development teams behind Disney’s theme parks, attractions, resort hotels, cruise ships, and retail, dining and entertainment centers. She also leads a multidisciplinary team tasked with exploring, developing and bringing to market groundbreaking ideas that enhance and expand Disney’s global portfolio of experiences.

Barbara previously served as co-managing director, principal, of Gensler Los Angeles. In this collaborative leadership role, she brought strategic design management to highly innovative clients such as Netflix, Amgen, JPL/NASA, Debbie Allen, and City of Hope. A fellow of the American Institute of Architects (AIA), she was the 2019 AIA Los Angeles president, and also served on the board of the Southern California chapter of the International Interior Design Association.

In the community, Barbara was recognized by The Los Angeles Business Journal as Executive of the Year: Women Making a Difference. This honor recognizes women who lead by example, successfully blending effective business vision with passionate commitment to positively making a difference, both in the business world and in the communities they serve. She has also been named by Real Estate Forum magazine as a Woman of Influence: California.

Barbara is on the board of directors of Imagine LA, a leading not-for-profit dedicated to mobilizing the community to end the cycle of family homelessness and poverty, and is a member of the National Organization of Minority Architects and the Women Presidents’ Organization. Additionally, she works with nonprofit organizations such as Girls Inc. and Dress for Success.

Barbara holds a Bachelor of Architecture degree from California State Polytechnic University, Pomona, and studied in the Graduate Diploma Program at the Architectural Association in London.

Selon The Hollywod Reporter, c'est Geoff Morrell qui succédera comme responsable des relations publiques à Zenia Mucha, sur le point de prendre sa retraite à la fin de l'année.

Son titre officiel serait celui de chef de la direction corporative, supervisant la communication, les relations gouvernementales, la politique publique, la philanthropie et les questions environnementales.

Citation :

Disney to Tap BP Exec and Former ABC News Correspondent Geoff Morrell as PR Chief

Morrell, who was also the press secretary for the Pentagon during the Bush and Obama administrations, will succeed Zenia Mucha, who plans to retire at the end of the year.

The Walt Disney Co. plans to name Geoff Morrell to the newly created role of chief corporate affairs officer, The Hollywood Reporter has learned. While he has been given a broader portfolio, his responsibilities will include succeeding top communications officer Zenia Mucha, who will retire from the company at the end of the year.

Morrell, currently executive vp communications advocacy for BP, will take on a restructured and significantly expanded position leading PR for Disney. His official title will be chief corporate affairs officer, overseeing communications, government relations, public policy, philanthropy and environmental issues.

Before joining the multinational oil and gas company, Morrell worked for both the Bush and Obama administrations as deputy assistant secretary of defense for public affairs at the Pentagon, where he eventually served as the chief spokesperson for Defense Secretary Bob Gates. (Morrell was one of a few Bush administration appointees who were asked to remain with the Obama administration, Gates wrote in his 2015 memoir, Duty.)

Before becoming a corporate executive, Morrell was a journalist, where he served as White House correspondent for Disney’s ABC News between 2004 and 2007 before leaving to join the Pentagon. He joined BP in 2011, and rose to lead its London-based external affairs team in 2017.

Disney CEO Bob Chapek is said to see him as having the ability to manage Disney’s many different stakeholders, from consumers to talent, policy makers and beyond.

https://www.hollywoodreporter.com/business/business-news/disney-geoff-morrell-communications-chief-1235058022/

Alisa Bowen a été nommée présidente de Disney+ avec effet immédiat :

Citation :

Alisa Bowen Named President Of Disney+

Alisa Bowen has been named President of Disney+, effective immediately. In this role, Bowen will build on the flagship streaming service’s reputation as a global destination for premium content. Bowen has led global business operations for Disney’s streaming platforms, including Disney+, since its launch in 2019. In that time, Disney+ has expanded rapidly, growing its reach to 154 markets worldwide with 152.1 million total subscriptions as of the end of the third quarter in fiscal year 2022. Bowen will work closely with key leaders across The Walt Disney Company to drive continued focus on innovation, including the forthcoming launch of the advertising-supported tier, as well as multi-channel promotional support for Disney+ and its robust content slate. Regional leaders for Disney+ in Canada, Europe, the Middle East, and Africa (EMEA), Asia Pacific, and Latin America will report jointly to Bowen and regional leadership. Bowen will continue to report to Michael Paull, President, Direct to Consumer, Disney Media Entertainment & Distribution.

“Alisa has been an indispensable member of our leadership team since the inception of Disney+,” said Paull. “She possesses a rare and valuable combination of deep institutional knowledge, forward-thinking innovation, and global vision rooted in a strong focus on our consumer, that is perfectly suited for this critical role, and I am confident that she will have an immediate and positive impact on the business.”

“Disney+ is a phenomenal growth story and has delighted fans around the world at tremendous scale. We have a best-in-class team behind this success and I'm excited to partner with them in this new role, as we drive the next phase of Disney+ growth," added Bowen. "Our upcoming content is incredibly exciting, and we are committed to innovation to give our fans and subscribers the best possible experience, including more choice on how they can enjoy Disney+"

Bowen is a seasoned media executive with decades of experience in product, technical, and operational leadership roles in several global media organizations. She most recently served as EVP of Global Business Operations for Disney Streaming, overseeing global content and business operations for the Company’s direct-to-consumer video streaming businesses, Disney+, Hulu, ESPN+, and Star+. This included cross-functional leadership of the global Disney+ rollout in 154 markets worldwide.

She joined Disney in 2017 as SVP, Digital Media and CTO of the Company’s international operations where she led a transformation of Disney’s channel broadcast technology, content operations, and digital publishing across EMEA, Asia Pacific, and Latin America.

Prior to Disney, Bowen served as CTO of News Corp Australia where she was responsible for the digital transformation strategy, including the pivot to digital subscription business models and the launch of new digital advertising offerings. She has also held product, business operations, and general management leadership positions at major media organizations.

Bowen holds a Masters of Business Administration from the London Business School and will continue to be based in Los Angeles, California.

Disney Media & Entertainment Distribution - 29 septembre 2022.

Bob Weiss prendra sa retraite à la fin de l'année après avoir passé 42 années au sein de Walt Disney Imagineering qu'il avait rejoint en 1980 alors que l'entreprise se nommait encore WED Enterprises :

Citation :

Bob Weis to Retire from Imagineering After 42 Years

Bob Weis, Global Imagineering Ambassador and former President of Walt Disney Imagineering (WDI), announced today that he will retire at the end of the year. “I will always be proud to have led Imagineering from 2016-2021, and to be your Global Ambassador in 2022,” he wrote in an email he shared today with his fellow Imagineers. “I am proud to have been an Imagineer, a collaborator, and someone who loves to do impossible things with impossibly talented people.”

Weis grew up in Southern California and fondly recalls his family’s annual visits to Disneyland on his birthday every year. While studying architecture at California Polytechnic University in Pomona, he worked in Disneyland Park as a cast member selling popcorn and ice cream and absorbing everything going on around him. He joined Walt Disney Imagineering, then called WED Enterprises, in 1980, soon after graduating college, and within eight months had relocated to Japan as part of the WED team creating Tokyo Disneyland.

Subsequent assignments included creative leadership on Disney’s Hollywood Studios (at the time, Disney-MGM Studios), Tokyo DisneySea, and the reimagining of Disney California Adventure. In recent years, he led the creative team for the development, design, and construction of Shanghai Disney Resort. After the resort opened in China in 2016, Weis was named president of WDI, a position he held for six years, a period when more than 200 distinct projects were delivered, despite the challenges of the COVID-19 pandemic.

“It’s been great to have the confidence of the company behind us,” Weis says. “When I was leading Imagineering, we delivered hundreds of projects that brought new experiences, new stories, new innovations to our guests around the world. And D23 fans who attended the Expo [in September] had a chance to see so many more that we have well under way. It’s truly an exciting time.”

In 2022, Weis took on the role of Global Imagineering Ambassador, following in the footsteps of one of his mentors, Disney Legend and former WDI president Marty Sklar, the first to hold the ambassador title. Sklar left behind a massive collection of Disney artifacts and memorabilia that Weis has been reviewing with a team of specialists. As Weis shared with Imagineers, “When I retire, I am relishing the opportunity to write a book for the Marty Sklar Archives and I’m in the process of developing a screenplay for Walt Disney Studios. I may even find some time to just go down and walk around Disneyland once in a while.”

Interview exclusive accordée à D23 juste avant de partager la nouvelle de son départ avec ses collègues :

Citation :

D23: What are some of the biggest changes you’ve seen at Walt Disney Imagineering during your career?

Bob Weis (BW): Well, that’s quite a timespan. I began on Tokyo Disneyland, so I’d say the biggest shift for me is we went from two theme parks in the United States to 12 around the world. That’s just been a huge growth curve in my experience. We’ve also discovered that there are certain things that work across the globe that people want to do together. Certainly, the way we design has changed; the way we develop and visualize and engineer things has changed. But the fundamental power of storytelling, of getting people together for a Disney experience [has not changed].



D23: You were president at WDI during the height of the COVID-19 pandemic. What was that like?

BW: We marched boldly forward. I have huge admiration for [The Walt Disney Company CEO] Bob Chapek for marching ahead [with us] and believing in the projects that Imagineering does and that the audience would be there [when the pandemic eased]. It certainly wasn’t guaranteed at that time. But he was right. So, this is a nice time for me, where a lot of these major projects are wrapping up in these next few months. It’s good timing for me to think about wrapping up my assignment as well.

D23: You said in your in your email to the Imagineers that “babies born today will someday be taking their grandkids on the experience you’re creating.” How do you, as Imagineers, wrap your head around that kind of responsibility to the Disney legacy?

BW: Well, I was one of the kids once, and now I’m in the older generation. [Across the years,] we’ve all seen that—we’ve seen things that we’ve created have that kind of lasting power across generations. To me, that is the magic of Disneyland—that people take their kids and want them to have the same experiences [that they had as children]. But also, as Marty [Sklar] said, our theme parks are not museums. We have to keep them fresh. We have to keep moving forward. So, there’s this balance: How do you how do you keep the classic things that people remember but at the same time be constantly upping your game, making things better? And that’s one of the great joys of being an Imagineer. We’re always trying to listen to the audience to see how we could make things better—how we could take new stories, new IP [intellectual properties], and put them into our kind of artistic medium to create experiences for our audience.



D23: You were indeed one of the kids once, since you once sold popcorn and ice cream at Disneyland.

BW: I did, in college. It was very informative to my urban planning and architectural studies, because when you stand out on the street throughout the day, you see behavior; you see how people use the park spaces of Disneyland and how it changes throughout the day and through the cycle of the seasons. It really was a great way to learn from Disneyland. How do you attract people’s attention to move into a space? How do you tell a story in [three-dimensional] space? How do you make Disneyland simple to navigate, so that you don’t really have to think about where you’re going? It’s as if you’re a character in your own movie and you’re drawn through it. We’re not directing you specifically one way or the other. We’re really letting it be your experience. The parks have to have that kind of clarity, and I think that’s a big hallmark of what Imagineering has done in all the parks.

D23: In your farewell email, you wrote that Imagineering “still reflects [Walt Disney’s] creative energy, his storytelling, his belief in talent and collaboration, and his passion for always ‘moving forward.’” Can you talk a bit more about how Imagineering remains driven by the spirit and imagination that Walt Disney established?

BW: This has been high on my mind recently, because I’ve been working on [sorting through] this huge discovery of [documents and artifacts] that Marty Sklar collected during his 50-year career. There’s plenty in there that Marty wrote, and there’s plenty of references to Walt’s philosophy in his first decade in this business. And it becomes very clear that the idea of telling stories for people to experience over and over and in their own way—as I said, as characters in their own experience—Walt was very clear about wanting [the park to be] a seamless environment. He didn’t want to see the world outside. He wanted people to really escape the world that they were living in and have a great time—an experience that was reassuring, that was celebratory. I think those fundamentals are still the same. Whenever we do something—it might be adventure, it might be fantasy, but it’s always in the service of great storytelling and fun. People are really looking for an experience about optimism. That’s one of the big things that Marty was writing and speaking about: a sense of optimism. And that hasn’t changed—that life-affirming, aspirational way of thinking and having a day together where you can celebrate that.



D23: What’s it like for an Imagineer to visit a park filled with guests?

BW: Seeing the parks with people in them and seeing the way that people love the parks—whether it’s their first visit, their 10th visit, or their 100th visit—is so inspiring to me and to all people who work or have worked in Imagineering. We’re really thankful to the fans because of the way that they love [the parks], but also because of the way we are able to learn from them by watching how they react to things. This goes back to Walt’s talking about Disneyland—that he could come in and change it whenever he wanted, that it was a living medium. I went back to Shanghai after we opened and saw how quickly the Shanghai audience—relatively inexperienced in theme parks or in Disney—adopted it and made it their own. It’s an incredible privilege to have this living lab that you can go to and see how people react. And I think the important thing is for Imagineers to listen to fans and listen when things are working and also be willing to admit when things aren’t working—and so, it’s time to update or to make some changes. But fans inspire you. The most emotional time for any Imagineer is when you when you stand out front when something opens and you see the fans come in for the first time and hear their reaction for the first time. There’s nothing more satisfying or more rewarding than that.

D23: Is there anything else you wanted to say to D23 Members and fans?

BW: One of the most gratifying things for me over the years has been [the emergence of] D23 and seeing the union of all those people who love Disney, who love parks and love Imagineering. And it was a joy to work with Leslie [Iwerks] on her documentary about Imagineering [The Imagineering Story, streaming on Disney+]. Just over the last decade. [we’ve been able to] lift the veil a little bit and not be so secretive. It’s been gratifying to have that connection to D23 and to be able to show some pride about what we do and show a little bit behind the curtain.

https://d23.com/bob-weis-to-retire-from-imagineering-after-42-years/

https://www.bfmtv.com/economie/entreprises/gel-des-embauches-et-probables-licenciements-disney-devoile-ses-plans-pour-reduire-ses-couts_AD-202211130215.html

Qui l'aurait cru ? L'activité de streaming qui va finir par plomber les parcs ... (J'espère pas mais bon, pourvu que ça reste sur la partie streaming)

Raiisin a écrit:

https://www.bfmtv.com/economie/entreprises/gel-des-embauches-et-probables-licenciements-disney-devoile-ses-plans-pour-reduire-ses-couts_AD-202211130215.html

Qui l'aurait cru ? L'activité de streaming qui va finir par plomber les parcs ... (J'espère pas mais bon, pourvu que ça reste sur la partie streaming)

Dommage que cette nouvelle soit passée presque inaperçu pour la pluparts des membres du forum car beaucoup des sujets concernants  le développement des parcs, studios, (et pas que) passent par cette info qui est quand même surprennante.

Quand la plupart du secteur touristique bats des records, presente des profits fous, nous avons Disney qui annonce des coupes budgetaires et des réductions d'effectifs.
Sur ce coup je ne blame pas specialment Bob Chapek (même si je critique d'avantage son incapacité totale de gestion de la marque Disney et surtout son manque de compréhension vis-a-vis la marque et sa relation avec les fans, les clients, les Casts, etc)...

Plus que le streaming, et l'impact covid cette info met en lumière le désastre qu'a été la fin des années Iger au sein de la WDC, notamment l'achat ruineux de la FOX en 2019 (pour la modique somme de 70B$!!! Marvel avait couté 4B$; Shangai Disneyland 5B$) qui a fait sauté la dette de Disney dans l'ordre de 85% pour s'etablir à 156B$!! Ajouté à tout cela la dette covid (+11B$ pour faire face aux problème de cash flow avec la fermeture des parcs) + l'investissement massif dans Disney+ (entre 14 et 16B$ par an depuis son lancement avec des pertes dans les 1,5-2B$ par an) + le poids de la dette  et vous avez les investisseurs qui commencent à se poser des questions alors que les écheances de remboursement du service de la dette approchent...

Résultat, l'action a perdu 13% en une seule journée - un record en 10 ans - lors de la publication des résultat du Q4 le 09/11. Vous avez donc une entreprise qui a soif d'argent (et vite) pour pouvoir rassurer les investisseurs, honorer la dette et reequilibrer le bateau.

Il faut donc couper encore et encore dans les effectifs, augmenter les prix dans les parcs et reduire la qualité (pour avoir du cash flow vite et sans se soucier de  l'impact sur l'image de la marque) revoir les investissements vers le bas (le flop de la D23, vous vous souvenez?) et qui doit encore gérer une crise de criativité globle qui pose de serieux problème pour l'avenir...

Le mot d'ordre est donc "cash, cash et encore du cash". Et cela se voit partout et ils assument et misent à peine sur tout ce qui peut rapporter gros et vite: Marvel, Avatar et certains IP (l'animation est passé aux oubliettes - regardez ce qui se passe avec le film de Noel de Disney de cette année; Pixar est relayé au second plan avec quelques projets sur Disney+ et quelques suites qui peuvent apporter du fric - coucou Vice Versa 2).

En soit, j'ai comme l'impréssion que Disney fait face à un problème sérieux: Disney est devenu trop grand, trop gros et n'a pas les moyens humains (incompétence Chapek+Board + fuite des créatifs) ni financiers pour répondre aux besoins d'un empire de cette dimension (merci à Mr Iger en ce qui concerne FOX, la IPmania, la perte de criativité et le live Action à gogo).  

L'entreprise n'arrive plus à trouver le Nord et cela marquera peut-être la fin d'une ère. Ce ne sera pas la premiére fois chez Disney.

Après Robert Chapek, Kareem Daniel et Arthur Bochner, voilà le départ de Heather Hust Rivera acté :

Citation :

After 17 years with the Walt Disney Company, Heather Hust Rivera left the company as the Disney Media & Entertainment Distribution Executive.

Rivera was in charge of overseeing global communications for all of DMED.

“I’m grateful for the incredible opportunities I have had in the past 17 years at Disney, working across multiple businesses with some of the industry’s hardest working, most talented, and amazingly creative people. I wish the team nothing but the best, and look forward to what the next chapter holds.”

Je ne sais pas si cet article a sa place dans ce sujet. Mais dans le doute.
1 annonce d'un licenciement de 7000 employés par la WDC.
https://www.lemonde.fr/economie/article/2023/02/09/disney-perd-des-abonnees-sur-sa-plateforme-de-streaming-et-licencie-7-000-employes_6161078_3234.html

Disney suit le cadence des grandes entreprises mondiales... Reduire encore plus les couts pour maintenir les benefs dans un contexte d'inflation qui plombe l'activité économique et le pouvoir d'achat des ménages.

"L'entreprise de divertissement vise à réaliser 5,5 milliards de dollars d'économies en restructurant l'entreprise en trois secteurs : le divertissement, les réseaux sportifs ESPN et les parcs à thème. Disney prevoit une reduction de 700 M€ d'investissements dans les parcs par rapport à 2022."

ARCPort a écrit:

Disney suit le cadence des grandes entreprises mondiales... Reduire encore plus les couts pour maintenir les benefs dans un contexte d'inflation qui plombe l'activité économique et le pouvoir d'achat des ménages.

"L'entreprise de divertissement vise à réaliser 5,5 milliards de dollars d'économies en restructurant l'entreprise en trois secteurs : le divertissement, les réseaux sportifs ESPN et les parcs à thème. Disney prevoit une reduction de 700 M€ d'investissements dans les parcs par rapport à 2022."

Oui, reste à savoir combien de temps va tenir cette "stratégie"...

Le projet de nouveau campus régional Disney de 60 acres à Lake Nona, situé à vingt miles de Walt Disney World Resort, a été présenté jeudi au comité d'examen du développement de la Ville d'Orlando, étape suivante du processus d'approbation.

Le campus composé de huit bâtiments de un à sept niveaux (et de trois parcs de stationnement) accueillera deux milles Cast Members de la division Disney Parks, Experiences and Products actuellement basés en Californie.

Le projet ayant pris du retard, le déménagement prévu à l'origine pour la fin 2022 a depuis été reporté à 2026.

L'investissement initial approche les 900 millions de dollars.

Sonia Coleman a été nommée directrice des ressources humaines de The Walt Disney Company :

Citation :

Sonia Coleman Named Chief Human Resources Officer of The Walt Disney Company

Sonia Coleman has been named Senior Executive Vice President and Chief Human Resources Officer of The Walt Disney Company, effective April 8, it was announced today by Robert A. Iger, Chief Executive Officer. Coleman, who most recently has served as Senior Vice President, Human Resources for Disney Entertainment and ESPN, succeeds Paul Richardson, who is leaving the company after more than 15 years at Disney.

As Chief Human Resources Officer, Coleman will report directly to Iger and will be responsible for leading Disney’s human resources strategy, global talent acquisition, leadership development, diversity and inclusion, organizational design and cultural development, employee education and development, compensation and benefits, HR operations and technology, and global security.

“Sonia is widely respected across the company as a gifted leader and strong advocate for our employees,” Iger said. “Her proven expertise leading the human resources function for our general entertainment businesses and ESPN during a period of unprecedented transformation makes her the perfect choice to lead this function company-wide as we implement our new operating structure and position Disney to capitalize on the opportunities ahead. I also want to extend my thanks to Paul Richardson for his many years of service to the company and his contributions to numerous ongoing initiatives, including our Heroes Work Here veterans hiring program.”

“It is truly an honor to be named to this role, and I am grateful for the confidence that Bob has placed in me,” Coleman said. “Disney is unrivaled because of the talent, dedication, and enthusiasm of our cast members and employees. They are the key to our success, and I look forward to being their greatest champion, in partnership with our exceptional HR teams around the world, as we move forward through the important company-wide transformation underway that will truly empower the people behind the magic of Disney.”

In her most recent role, Coleman has been responsible for employee development and engagement; recruitment and compensation; organizational development; and diversity, equity, and inclusion efforts for both ESPN and the general entertainment portfolio of businesses at Disney Entertainment, which include ABC Entertainment, ABC News, ABC Owned Televisions Stations, Disney Branded Television, Disney Television Studios (20th Television, ABC Signature, 20th Television Animation and Walt Disney Television Alternative), Freeform, FX, Hulu Originals, National Geographic Content, and Onyx Collective.

Prior to that, Coleman served as Senior Vice President, Human Resources for Disney General Entertainment from 2017. She also served as Vice President, Human Resources for the company from May 2016 and in that capacity oversaw HR strategy, change management initiatives, organizational development, and engagement strategies for Disney’s corporate, enterprise, and cross-functional employees, and served as the lead HR business partner to the company’s senior corporate executives. She was also responsible for employee relations for the company.

Coleman joined Disney in 2008 as Vice President, Human Resources, Disney Consumer Products, a role she held for eight years. Before Disney, Coleman worked at The Children’s Place from 2004 to 2008, where she held several strategic HR roles; and The Home Depot from 1992 to 2004, where she served as the strategic HR leader during a period of large-scale change and complex organizational transformation.

Coleman has a Bachelor of Science degree in organizational leadership from Chapman University and a Master of Science degree in human resource management from Florida International University.

Cadre (President of physical and post production, visual effects, and animation production) et productrice exécutive (de tous les films et séries télévisées Marvel depuis 2012), Victoria Alonso quitte soudainement Marvel Studios qu'elle avait rejoint en 2006. Elle aurait été licenciée.

Citation :

Marvel Studios Veteran Victoria Alonso Exits

She has served as executive producer on its titles since the first 'Avengers' movie.

Victoria Alonso, the longtime and high-profile Marvel Studios executive whose time with the company dates back to the first Iron Man, has left the studio, multiple sources tell The Hollywood Reporter.

The reasons for the exit are unclear, but she parted ways with Marvel on Friday, sources say.

Alonso had been with the company since earliest days of the Marvel Cinematic Universe, establishing an enviable 17-year run and watching the studio grow from operating above a Mercedes-Benz dealership in Beverly Hills to being acquired by Disney. During her tenure, the MCU became the highest-grossing franchise in film history.

Alonso joined the studio in 2006 as chief of visual effects and postproduction and helped launch the Marvel Cinematic Universe as a co-producer on 2008’s Iron Man. She also served as co-producer on Iron Man 2 (2010), Thor (2011) and Captain America: The First Avenger (2011). Alonso was upped to executive producer on The Avengers (2012), the landmark film that grossed $1.5 billion and took Marvel to new heights, proving that the concept of a shared cinematic universe could really work.

Alonso has served as executive producer on Marvel’s subsequent releases and also worked on its Disney+ TV series. In 2021, she was promoted to president, physical and postproduction, visual effects and animation production.

Last year, she also produced the Oscar-nominated international feature Argentina, 1985

Her departure comes in the shadow of Ant-Man and the Wasp: Quantumania‘s poor showing at the box office and among critics and fans.

In addition to her behind-the-scenes work, Alonso has been an important ambassador for the studio’s representation efforts and was outspoken during Disney’s dispute with Florida over its “Don’t Say Gay” bill. “As long as I am at Marvel Studios, I will fight for representation,” Alonso, who is gay, said at the time.

She was named one of People en Español magazine’s Most Influential Hispanic Women in 2019 and 2020 and has been featured on THR’s Women in Entertainment Power 100 list multiple times.

https://www.hollywoodreporter.com/movies/movie-news/marvel-studios-victoria-alonso-exits-1235356853/

Citation :

Marvel Studios Veteran Producer Victoria Alonso Exits

Marvel Studios executive Victoria Alonso has exited the studio, Variety has confirmed.

She joined Marvel Studios in 2006 as executive vice president of visual effects and post-production, serving as co-producer on early Marvel Cinematic Universe films like “Iron Man,” “Iron Man 2,” “Thor” and “Captain America: The First Avenger.” Since then, Alonso has worked as an executive producer on every Marvel Studios film and TV show since 2012’s “The Avengers.”

In 2015, Alonso was promoted to executive VP of production, and in 2021 she was upped to president of physical, post production, VFX and animation at Marvel Studios. In her role, she oversaw all of Marvel’s post-production, including its visual effects work, which has come under repeated and vociferous criticism by visual effects professionals

Most recently, the special effects in last month’s “Ant-Man and the Wasp: Quantumania” came under fire, and reviews for the film were notably more negative than previous Marvel movies. The third installment of the “Ant-Man” franchise had its largest opening weekend ever ($105 million), but fell below 2015’s “Ant-Man” and 2018’s “Ant-Man and the Wasp” at the worldwide box office. Last year’s TV series “She-Hulk: Attorney at Law” also received some backlash for the look of the titular green hero among the devoted MCU fans.

Despite her sudden exit on Friday, Alonso is credited as a producer on the upcoming Marvel films “Guardians of the Galaxy Vol. 3” and “The Marvels,” plus the Disney+ shows “Secret Invasion,” “Ironheart,” “Echo” and “Agatha: Coven of Chaos.”

In addition to her work with Marvel, she was also a producer on “Argentina, 1985,” which won the Golden Globe for best foreign language film and received an Oscar nomination.

Alonso has been named multiple times to Variety‘s Power of Women L.A. Impact Report and, last June, Variety exclusively announced that she had written a memoir, titled “Possibility Is Your Superpower,” about her Hollywood career after growing up in La Plata, Argentina.

“You don’t need a cape, you don’t need a hammer, you don’t need a shield. Your superpower is your voice, and your voice will create change for yourself, for society and for those who you love,” Alonso said. “If you use your voice, you will create the kind of energy that will bring change to us. To not use your voice is silence, and silence is poison.”

https://variety.com/2023/film/news/victoria-alonso-marvel-studios-exit-1235559674/

Il semblerait qu'elle était la principale responsable de l'environnement décrit comme toxique par des artistes VFX. Elle détenait un énorme pouvoir, prenant toutes les décisions créatives majeures sur les films et séries Marvel. Kevin Feige et Victoria Alonso approuvaient personnellement chaque plan, chaque effet visuel, ce qui est généralement le travail d'un réalisateur ou d'un showrunner. Beaucoup semblaient la craindre, elle aurait eu recourt régulièrement au favoritisme, et n'aurait pas hésiter à blacklister les artistes qui l'auraient agacé d'une quelconque manière.

Elle s'opposait d'ailleurs généralement à ce que les dates de sorties soient décalées. Quitte à renvoyer aux exploitants, après les sorties en salle, de nouvelles copies des films avec des mises à jours des effets spéciaux.

En se séparant de la seconde de Kevin Feige, c'est un signal fort qui est envoyé par Bob Iger. Si elle peut être "remerciée", d'autres le peuvent aussi, qu'importe depuis combien de temps ils sont présents, et qu'importe leurs influences.

et un autre :
https://wdwnt.com/2023/03/breaking-marvel-entertainment-chairman-isaac-ike-perlmutter-laid-off/

Chez Marvel Entertainment, deux autres cadres ont également été remerciés. Il s'agit de John Turitzin, l'avocat en chef de l'entreprise depuis 2004, et de Rob Steffens, nommé directeur des finances en 2002 et plus récemment co-président en 2021.

Citation :

As well as laying off Ike Perlmutter, Marvel has also fired John Turitzin, chief counsel, as well as Rob Steffens, co-president of Marvel Entertainment

Plusieurs départs également du côté de ABC News :

Citation :

Wendy Fisher, senior vice president, newsgathering; Galen Gordon, senior VP of talent strategy and development; Mary Noonan, vice president of talent strategy and development; Alison Rudnick, vice president of corporate communications, Chris Vlasto, senior executive producer and head of the investigative unit; Heather Riley, executive editorial producer; and David Herndon, executive director and Los Angeles bureau chief.

Et ben, il fait du ménage Iger ! J'arrive même plus à dire si c'est positif ou pas à ce niveau là.