Disney releases sneak peek into new nighttime spectacular that will replace ‘Wishes’ on May 12

On Thursday night, Disney Parks Blog live streamed the “Wishes” fireworks spectacular from Magic Kingdom at Walt Disney World and they also released a sneak peek into the show that will take its place on May 12, “Happily Ever After.”

You can see “Wishes” at Magic Kingdom now through May 11. Did you miss the live stream? No worries, you can watch the replay here.

So, what should you expect from the brand-new nighttime spectacular, “Happily Ever After?”

According to Disney Parks Blog, the show will combine the magic of Disney storytelling, Disney characters, fireworks and even more technology. There will be pyrotechnics and original animation and in true Disney fashion, the music will tug at your heartstrings.

“Wishes” was known to leave Disney fanatics in magical awe and “Happily Ever After” promises to do the same. The song encourages everyone to dream their biggest dream possible and of course, to never give up. The song is performed by country music artist Angie Keilhauer and singer Jordan Fisher. Jordan is featured on the “Moana” soundtrack and was part of the cast of Broadway’s “Hamilton.”

Listen to the “Happily Ever After” theme song below:

More information will be released on Disney Parks Blog in the coming weeks.

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Disney, Universal battle tax bill for Florida theme parks

ORLANDO, Fla. (AP) – It takes a lot of land to accommodate Cinderella’s castle, The Wizarding World of Harry Potter and Epcot’s 11-country World Showcase – and a hefty purse to pay the property taxes on it.

To cut tax bills in the tens of millions of dollars, the specialists at Orlando’s famous theme parks have employed methods from the creative – placing cows on undeveloped land and claiming an agricultural exemption – to the traditional – negotiating or appealing to a county board.

Over the past couple of years, however, such tactics aren’t quite doing the job: Property assessments and taxes have jumped – and so has the number of lawsuits the theme parks and other businesses have filed against Orange County’s property appraiser. That’s Rick Singh, who was re-elected to a second four-year term last fall despite the thousands of dollars in donations park officials gave his opponent.

In this Tuesday, Jan. 31, 2017 photo, cars travel one of the roads leading to Walt Disney World in Lake Buena Vista, Fla. Orlando's top tourist destinations, Walt Disney World, Universal Orlando, SeaWorld and several resorts are in legal battles about how much they're worth with the local property appraiser and tax collector. (AP Photo/John Raoux)

In this Tuesday, Jan. 31, 2017 photo, cars travel one of the roads leading to Walt Disney World in Lake Buena Vista, Fla. Orlando’s top tourist destinations, Walt Disney World, Universal Orlando, SeaWorld and several resorts are in legal battles about how much they’re worth with the local property appraiser and tax collector. (AP Photo/John Raoux)

In lawsuits filed last year, the theme parks said Singh’s office had failed to use proper appraisal methodology. Walt Disney Parks and Resorts issued a statement describing increased assessments on some of its properties for 2015 as “unreasonable and unjustified.”

Beyond such terse statements, officials from Disney, the development arm of Universal Orlando and SeaWorld of Florida are saying very little about an issue they hope to resolve in court.

But they have spoken loudly with their wallets. Groups affiliated with all three companies gave $19,000 to Singh’s Republican opponent. Singh, a Democrat, got only $5,000 from the groups.

The backlash isn’t surprising, said Doug Head, chairman of the watchdog group Orange County Watch. Head said the appraiser’s position has traditionally been a cushy post for local politicos waiting to retire, but Singh is one of the first to have substantial professional training.

“He uses professional expertise, and he clearly figured out there is a lot more value than is properly being reflected,” Head said. “He did what he needed to do, and people accustomed to the way business was done weren’t happy.”

Singh said his methods for assessing properties are no different than those of his predecessors – except when looking at resorts and hotels. Then, he considers their income statements and the local “bed tax” paid by hotel customers, which he said his predecessor didn’t use. Income isn’t considered when assessing theme parks.

“It’s a matter of being fair and equitable,” Singh said. “If the single mother who is working two jobs has to be held accountable to pay her fair share, so should everybody else.”

The importance of the three theme parks to Orange County, which includes Orlando, can’t be overstated: The properties owned by Disney, Universal and SeaWorld are valued collectively at about $10.7 billion. Properties owned by the largest resort and timeshare companies are worth another $6.3 billion.

The three theme park companies pay 7 percent of the county’s property taxes – more than $135 million last year. That revenue helps to mitigate the impact of hosting 66 million visitors in 86,000 hotel rooms and 15,500 timeshare units every year, and to finance law enforcement, schools, parks and public health programs. Disney also pays property taxes to a private government established by the Florida Legislature that provides the Disney parks and resorts with services including utilities, roadways and firefighters.

Property values for the theme parks, resorts and other large commercial properties are set by a team of almost two dozen of the county’s seasoned appraisers in what Singh calls “the most complex tax roll in the world” due to the constant growth.

Singh said the appraisers use a “cost approach” when evaluating theme parks. Tax bills go up not just from rising property values but also from new construction, which is constant at the parks.

“What does it cost to improve the land? What does it cost to build this? … What is the labor cost? Factor in all that and then it depreciates, and that’s your cost approach,” he said.

But the results are meeting a wall of resistance. Last year, Disney, Universal and SeaWorld filed a dozen lawsuits against Singh’s office, the tax collector and the state Department of Revenue. Several other Orlando resorts also have sued.

The companies pay taxes only on their properties’ “assessed” values; the “market” values reflect what the properties could be sold for.

SeaWorld is fighting the market and assessed values of its flagship SeaWorld Adventure Park, its Aquatica water park and Discovery Cove, an animal-encounter park. In a separate lawsuit the property appraiser’s office filed against SeaWorld in 2015, Singh’s office listed a market value of $192.5 million; SeaWorld listed it at $143.4 million.

Universal is disputing the market value of its 20,000-vehicle parking garage, which has nearly doubled in two years, from $148.6 million in 2014, to $297 million in 2016. The garage’s assessed value only went up 10 percent a year during that time, however, from $145 million to $175 million.

Disney is disputing the assessments of properties including four theme parks, 11 resorts and two water parks. An Associated Press tally of all the properties listed in the lawsuit shows that the appraiser gave them a total market value of more than $5 billion in 2015.

Disney, whose total properties in Orange County have a market value of $8.2 billion, is not saying publicly what it thinks the value should be. But the company’s tax bill from Singh’s office jumped from $84.5 million in 2014 to $97.2 million in 2015 to $102.6 million in 2016, an average increase of about 10 percent a year. Those numbers exclude what Disney pays its private government in property taxes.

“Similar to other property owners in Orange County, we have no choice but to take action to dispute these errors by the property appraiser,” Disney’s statement said.

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Disney plotting 15 more years of Star Wars

First we’ll get non-digital Leia and Han Solo: Young Adult with Chewie and Falcon back-story

Han Solo

Disney CEO Bob Iger has told a conference that the company is contemplating “what could be another decade and a half of Star Wars stories.

Iger dropped that tantaliser at the SCALE: The Future of Tech and Entertainment event in Los Angeles on Thursday. Iger’s talk was witnessed and chronicled by entertainment industry bible Variety.

The “decade and a half” clock would start ticking after Star Wars Episode IX , currently scheduled to land in cinemas on May 24th, 2019.

Before then we’ll get this year’s Episode VIII: The Last Jedi and 2018’s as-yet-unnamed Han Solo flick. Iger said that effort will cover the roguish pilot’s life from the ages of 18 to 24. The Register hopes Disney to come up with a snappier title than Han Solo: Young Adult. Iger’s hints about the story sound intriguing: we’ll learn how Solo and wookie pal Chewbacca met and teamed up, plus discover the provenance of “a certain vehicle” – presumably the Millennium Falcon. Iger also said the origin of Solo’s name will be revealed.

The CEO also said that recently-departed actor Carrie Fisher will not be digitally resurrected in The Last Jedi and that the scenes that she shot and the film’s plot will remain unaltered.

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Bob Iger Extends Contract as Disney CEO Through Mid-2019

Bob Iger

CHELSEA LAUREN/REX/SHUTTERSTOCK

 

Disney chairman-CEO Bob Iger has extended his contract as the company’s chief executive by one year, through July 2, 2019, a move that had been expected as Disney continues its long search for his successor.

“Given Bob Iger’s outstanding leadership, his record of success in a changing media landscape, and his clear strategic vision for Disney’s future, it is obvious that the company and its shareholders will be best served by his continued leadership as the board conducts the robust process of identifying a successor and ensuring a smooth transition,” said Orin C. Smith, who is the lead independent director of Disney’s board.

The pact calls for Iger to serve as consultant to Disney for three years following his exit as CEO. He’s held the top job at the Mouse House since succeeding Michael Eisner in early 2005.

“Mr. Iger has led the Walt Disney Company to unprecedented success during his 11 years as CEO, driving Disney to new creative heights, expanding the company’s global reach, fostering technological innovation, and delivering year-after-year of record financial results,” Smith said. “During his tenure, Mr. Iger has created enormous value for shareholders, with total shareholder return of 448%, compared to 144% for the S&P 500, and a dramatic increase in the company’s market capitalization to $177 billion from $46 billion.”

Iger signaled his inclination to extend his tenure at the top last month when pressed by Wall Street analysts during Disney’s quarterly earnings call. The Disney board has been searching for a successor CEO for more than two years. A few years back, Iger had laid out his plan to step down as CEO in 2016, but in 2014 his term was extended by another two years, through June 2018.

Disney had two candidates in the running for Iger’s job, former top execs Jay Rasulo and Tom Staggs. Staggs gained an advantage in early 2015 when he was promoted to the chief operating officer post, making him Iger’s apprentice. But Staggs left after just a year when it became clear the Disney board was not prepared to promote him to CEO. Rasulo, the former CFO and parks division head, left the company after being passed over for the COO promotion.

Since Staggs’ departure, there’s been no clear internal or external frontrunner for the job. With the clock ticking, it was a fait accompli that Iger would set another contract extension, given the complexities of running the world’s largest media company.

“Leading this great company is a tremendous privilege, and I am honored to have been asked to continue serving as CEO through July 2, 2019,” Iger said in a statement. “Even with the incredible success the company has achieved, I am confident that Disney’s best days are still ahead, and I look forward to continuing to build on our proven strategy for growth while working with the board to identify a successor as CEO and ensure a successful transition.”

In addition to his regular salary, Iger is scheduled to receive a $5 million bonus in 2019 for sticking around another year, according to a Securities and Exchange Commission filing Thursday. When he shifts to consultant mode, he’ll earn $500,000 a quarter for the first two years, and $250,000 per quarter for his third year, per the filing.

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Disney World Hops on Mobile Ordering Trend

 

It’s going to get a little easier for smartphone-toting theme park buffs to get their lunch on at Disney World this summer. Disney (NYSE: DIS) will be hopping on the mobile ordering trend when Pandora — The World of Avatar opens at Disney’s Animal Kingdom during Memorial Day weekend.

Folks will be able to fire up the official My Disney Experience app to order and pre-pay for food at Satu’li Canteen, the lush new area’s Avatar-themed counter-service eatery. It’s the first (and for now, only) restaurant at a Disney World theme park to offer mobile ordering, but if the option proves popular you know it’s just a matter of time before it works its way through the rest of the massive resort’s culinary offerings.

Steamed vegetable curry-filled bao buns at Satu’li Canteen.

The future is in your hands

Smartphones have been enhancing Disney World’s theme park experience for a couple of years now. The My Disney Experience app is at the heart of the $1 billion that the media giant reportedly invested in the MyMagic+ platform that fuels the resort’s FastPass reservations system and on-ride digital photo album.

The app has become an indispensable tool for folks at Disney World, as it provides wait times and allows for the selection and management of FastPass windows and dining reservations. Why wouldn’t mobile ordering be the next step? Disney’s counter-service eateries can get pretty slammed during peak eating periods, and with single-day park admission tickets now well north of $100, shaving time waiting in line and for food to be ready is a no-brainer financial call.

Disney’s food prep process also makes it a chore for anyone trying to customize a meal. If it’s a cheeseburger on the menu and you want a hamburger you can expect to wait 5 to 10 minutes more than you normally would. It sounds incredible until you go to the park with a picky eater and see it firsthand.

Na’vi-gation vacation

Satu’li Canteen is also likely the kind of place that’s going to have slow-moving registers. It’s an unusual foodie-centric menu that’s going to throw mainstream visitors off. The signature item is a bowl, but there are several eclectic choices to make at every turn. Do you go with the base of quinoa and vegetable salad, red and sweet potato hash, mixed whole-grain and rice, or romaine and kale salad? Then it’s a matter of picking which of the four proteins — chicken, beef, fish, or chili-spiced fried tofu — you want before topping it off with chimichurri, black bean vinaigrette, or creamy herb dressing. Whether the description leaves you culinarily intrigued or scratching your head, you can be sure that it will be one of the slowest-moving lines at the park.

I haven’t even gotten to the restaurant’s steamed bao buns stuffed with vegetable curry or cheeseburger — and what this would mean if my son wants a hamburger instead. Oh, c’mon kid.

Mobile ordering is the future, and hopefully Disney is ready for the hiccups that have tripped up established chains going the smartphone route. Will it inconvenience those going the traditional register route by making their wait times longer? Will it be able to hold up on the tech end?

If this works, Disney shareholders should be the ones licking their lips. Some argue that folks on mobile apps tend to order more than walk-up orders, especially if Disney begins using past orders to nudge users to stuff they are likely to add to their bills. The real prize here is My Disney Experience app users storing credit card information to pre-pay for the meals, opening up the door for so many other commercial transactions in the future. It wouldn’t be a surprise to see in-park spending climb as mobile ordering spreads through Disney World’s four theme parks. It all starts with a bowl in two months, but it’s ultimately all about the perfect game.

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Disney Stole ‘Zootopia,’ Writer Claims in Lawsuit

Walt Disney was sued on Tuesday by a longtime Hollywood screenwriter and producer who accused the studio of copying its blockbuster, Oscar-winning animated film Zootopia from his work without permission.

Gary Goldman, whose credits include the Arnold Schwarzenegger film Total Recall and Tom Cruise film Minority Report, filed his copyright infringement lawsuit in the U.S. District Court in Los Angeles.

He said Disney replicated, sometimes “virtually verbatim,” the themes, settings, plot, characters and dialog, as well as the title, of his Zootopia concept, which he had pitched to the studio in 2000 and 2009.

Disney and its affiliates embrace “a culture that not only accepts the unauthorized copying of others’ original material, but encourages it,” the lawsuit said. “They did it with ‘Zootopia,’ too, when they copied Gary L. Goldman’s ‘Zootopia.'”

In a statement, Disney said: “Mr. Goldman’s lawsuit is riddled with patently false allegations. It is an unprincipled attempt to lay claim to a successful film he didn’t create, and we will vigorously defend against it in court.”

Zootopia has grossed more than $1 billion worldwide since its release a year ago, and last month won the Academy Award for best animated feature film.

The film explores bias through the comedic story of a rabbit, voiced by the actress Ginnifer Goodwin, who leaves her rural hometown to join a big-city police force in an animal metropolis where prejudice and fear divide residents.

Byron Howard, the film’s co-director, said in accepting the Oscar that the development of Zootopia had begun about five years earlier, “in hopes when the film came out it would make the world just a slightly better place.”

Goldman, through his company Esplanade Productions, is seeking unspecified compensatory and punitive damages, including from merchandise sales, reflecting what he called Disney’s “wanton, deliberate, malicious, and willful misconduct.”

Jeffery McFarland, a lawyer for Goldman, declined additional comment, as did an outside spokesman for Goldman.

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5 awesome free things Disney Cruise Lines offers its passengers

Catch a musical adaption of hit movie "Frozen" on Disney Cruise Line.

Catch a musical adaption of hit movie “Frozen” on Disney Cruise Line.  (Disney Cruise Line)

Make no mistake: cruising with Disney can be pricey. The good news is that you get a lot of bang for your buck on the family-friendly line, with amazing kids clubs, spectacular stage shows, and fun for every age group. (Animation art class, anyone?)

Check out our favorite complimentary activities on Disney cruise ships that will have you sailing happily ever after.

1. Meet the characters.

Disney just wouldn’t be Disney without the chance to meet classic characters like Mickey, Minnie and Donald, but you can also meet Marvel heroes such as Spider-Man and Captain America. And, in an industry full of nickel and diming, you don’t have to pay for the experience. Just remember: The most sought-after characters, including the princesses and Elsa and Anna from “Frozen,” require you to reserve tickets in advance — and they go quickly.

2. Sign your kids up for Jedi training.

Young Padiwans can learn to wield lightsabers in the Jedi Training Academy as part of a special themed “Star Wars” Day at Sea that includes meet-and-greets with Darth Vader, Chewbacca and the whole galactic gang. The special day takes place on select Caribbean sailings through April on Disney Fantasy.

3. Watch the latest Disney movies.

If you didn’t catch the newest Disney flick back home — say “Finding Dory” or “Moana” — you can watch it in the onboard theater, minus the exorbitant ticket cost. Now, if only the popcorn was free…

4. Learn a new craft.

Both adults and kids can learn to sketch like the pros or build fun masks in under 20 minutes in these step-by-step classes, which are offered on every cruise. Later that night, put your new skills to the test at dinner in Animator’s Palate, where your drawings come to life on the walls of the restaurant.

5. Be blown away by a stage show.

Cruise lines don’t have the best reputation when it comes to theater. That’s not the case with Disney, whose shows include homages to “Aladdin” and “Toy Story.” Best of all, the brand new “Frozen” stage show would fit right in on Broadway or the West End. Elsa even makes real snow fall in the theater. Now that’s what we call magic.

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Disney researchers can catch a real ball while wearing a VR headset

One of the truisms about virtual reality headsets is that no matter how fantastical and wonderful the worlds that you visit are while you’re wearing them, you’re blind to the real world around you. Sure, HTC’s Vive has a see-through camera designed to make it safe to wander around in a room where a baby might crawl in front of you. But you’re still largely blind to the physical environment around you.

Disney, though, thinks you should be able to mix the real and the virtual, and its researchers have come up with a system that cleverly mixes the two. In a video it released, researchers are shown tossing an actual ball (with motion-capture sensors attached) to each other while one sports a VR headset. The idea is that their system is able to track the ball’s trajectory and display it virtually to the person wearing the headset, allowing him or her to reach out a hand to actually catch it. It’s not entirely clear how this would be used outside the lab, but imagine Disneyland VR experiences where you could toss things back and forth with friends while immersed in Disney-esque VR worlds.

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How Disney keeps churning out billion dollar hits like Beauty and the Beast

Beauty and the Beast opens in Australia on Thursday but the film is already a major hit, just one more bit of proof that Disney’s magic formula is working a treat.

The studio’s live-action version of Beauty and the Beast has just opened in the United States with a massive $US170 million ($220 million), the biggest March opening weekend ever and the seventh-biggest opening of all time.

In foreign markets it took a further $US180 million ($233 million), to give it a global tally just north of $A450 million so far. And with it yet to open in several strong territories – including Australia, this week, and Japan – the film looks set to continue a run of $1 billion-plus box office monsters.

Disney last year became the first Hollywood studio to pass the $7 billion mark at the global box office, despite releasing fewer movies than any of its major studio rivals. Four of its pictures (Rogue One: A Star Wars Story, Finding Dory, Captain America: Civil War and Zootopia) topped $US1 billion ($1.3 billion) globally, while a fifth, The Jungle Book, fell just short of that mark.

In all, the studio released 13 movies in 2016, for a 26.3 per cent share of the US box office. By comparison, its closest rival, Warner Bros, released 23 titles for a 16.7 per cent share. According to a recent report by market analysts Cowen and Co, more than half the profits (57 per cent) made in the motion picture business globally last year went to Disney.

It’s an astonishing performance, but it’s no fluke. With fresh instalments in the Pirates of the Caribbean, Guardians of the Galaxy, Thor and Star Wars franchises in the pipeline, 2017 promises to be another big year. The Mouse has become a monster by becoming the most adept franchiser in the business.

In essence, Disney is now effectively a franchiser of franchises. The parent company, Walt Disney Studios, is an umbrella beneath which sits a cluster of very productive – and, crucially, very focused – mini-studios (though given their size, mini hardly seems the right word).

There’s Pixar, turning out high-end animated comedies such as Finding Dory. There’s Marvel, churning out superhero movies. There’s Lucasfilm, home to the Star Wars empire. There’s Walt Disney Animation, whose work – such as the recent Moana – most closely resembles the kind of film the studio originally made, albeit with computer animation largely replacing drawing by hand. And there’s the slate of films released under the Disney banner, including Beauty and the Beast, Alice in Wonderland and Maleficent, films that have re-animated the company’s back catalogue of cartoon fairytales through a powerful blend of CGI and live action.

A decade ago, Disney released the same number of movies as it did last year – 13 in 2007. Only two of them – Pirates of the Caribbean: At World’s End and National Treasure: Book of Secrets – were franchises.

Last year, six of the movies it released were franchises, sequels or remakes of earlier Disney titles (a seventh, the live-action The BFG, was a remake of an earlier non-Disney animated picture).

Each of Disney’s strands presents a clearly defined product, one that instantly takes its place among other similarly defined products. We know what to expect of a Marvel movie because it sits within a defined universe; we know that when a Star Wars movie comes with a roman numeral in the title it sits within a particular lineage, and when it doesn’t it sits slightly outside it.

Audiences crave the new, of course, but they also love the familiar. Bring them together in a big-budget spectacle that demands to be seen on a big screen in the company of like-minded fans, and it’s a winning package.

A decade ago, the six major Hollywood studios were tightly packed. Paramount had the winning share, with $1.5 billion and a 15.5 per cent share of the US total; in sixth place, 20th Century Fox still had 10.5 per cent of receipts.

The BFG was a remake of a non-Disney animated film released in 1989.The BFG was a remake of a non-Disney animated film released in 1989.

In 2016, though, Paramount – a studio that has struggled to identify a franchise to replace its ageing Star Trek and Mission: Impossible product lines – could manage only slightly more than a quarter of Disney’s grosses as it finished sixth, with a 7.7 per cent share.

The gap between the top and bottom studios has never been greater, and it has never owed so much to the power of the franchise.

That’s not good news for anyone who wants to see the Hollywood studios backing more adventurous fare. It’s not great news either for those studios without the clout to buy up already powerful brands, the way Disney did with Pixar, Lucasfilm and Marvel, to guarantee a pipeline of production.

But for Disney, for now and the foreseeable future, it’s a beautiful thing.

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Disney on Ice brings Frozen to life

Frozen is arguably the most popular children’s movie in the world and now Disney on Ice will bring the movie to life.

Disney On Ice presents Frozen will premiere in Australia on June 2, with performances taking place at Qudos Bank Arena in Sydney Olympic Park from July 12 to 17.

Well-known characters Anna, Elsa and the lovable snowman Olaf will enchant audiences along with never-before-seen characters, including Grand Pabbie, the Trolls and the Marshmallow.

Hosted by Mickey and Minnie Mouse, this live spectacular will feature the full story of Frozen, as told in the Academy Award winning film.

Audiences will visit the wintery world of Arendelle and accompany Anna on her epic journey to save the kingdom and her sister, Elsa.

The immersive show features world class ice skating and dazzling special effects.

To purchase tickets, visit: Ticketek.com.au/DisneyOnIce.

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