How Coke, Disney use data to donate smarter

Handing over giant cardboard checks is often what companies think of as philanthropy. But some big companies like Walt Disney (DIS) and Coca-Cola (KO) think they can do better – using data.

Big companies are wondering if social responsibility can be more than just writing a check – but also a way to boost their businesses and brands. Rather than simply donating a part of profit each year, companies are mining consumer data to find where they can invest in social causes that will actually help their business, too.

“Companies are turning their business brains back on when it comes to charity,” says Jason Saul CEO of Mission Measurement, a consulting firm that helps companies quantify the business benefit they get from social efforts.

Companies are finding ways to get hard data showing how these initiatives are working better than just donating money. Take Coke. The Atlanta-based beverage maker has long done business in Africa and wanted to contribute to better economic conditions for families and women there. Coke could have just written a check as a donation to a local organization, which is still does. But additionally, five years ago the company created a program where local women could buy Coke’s beverage products at wholesale. These female entrepreneurs are then given basic business instruction and take the Coke products to sell by carts, bicycles and mopeds.

Coke’s business benefits because it gets product distributed more efficiently into tiny towns than it do on its own by rolling big trucks. Five years into the program, Coke is getting results showing the plan is working.  “Now, five years into our journey, we’ve empowered 865,000 women across 52 countries and we’re seeing preliminary results from impact studies that show increases in women participants’ confidence and financial stability,” says Bea Perez, chief sustainability officer for Coke. “Coca-Cola’s (program) isn’t about philanthropic check writing. It’s about sustainable business,” Perez says.

Investors are coming around to the idea sustainability – while very difficult to measure – is becoming an intangible that’s more important with younger consumers and could affect the bottom line, says David Palmer, stock research analyst at RBC Capital Markets. “Investors care about long-term growth,” he says, which usually involves monitoring financial data like revenue growth and profit margins – not social measures that are difficult to quantify. But the quest is on to measure social factors that many think can move numbers on the financials. Social factors “do not change the rules on what move stocks,” he says. “But if there are certain things that are important to employees or consumers that help the measures that are important (to investors), we will increasingly pay attention to those.”

Disney’s theme parks unit, famous for bringing precision to its operations, is attempting to do the same with corporate giving. The company has conducted research showing consumers look to it for creating experiences for families to do together. Disney’s parks business is looking to contribute its expertise, not just money, to help causes connected with families, which also helps its brand, says spokeswoman Suzi Brown. “Consumers want to spend money with companies they feel are making a difference,” she says.

Disney Monday ends its Share Your Ears campaign with Make-A-Wish. Consumers were urged to share photos of themselves wearing mouse ears. The company will donate money to the non-profit, which helps children with life-threatening illnesses have wishes granted, based on the participation of the campaign. Disney is seeing the effort as way to lend its marketing skills to raise awareness for the organization, which Disney has granted 100,000 wishes for over the years, Brown says.

Disney has also built a replica of its “Turtle Talk with Crush” attraction in the Children’s Hospital of Orange County where kids can interact with characters from “Finding Nemo.” The company also hosts an annual ImagiNations Design Competition for college students and lends its Imagineers to mentor students. This, too, has a business benefit in it allows Disney to identify students with the skills it seeks for future employees, Brown says.

Companies are increasingly aware that social efforts are important with consumers and are a factor in purchase decisions, Saul says. Companies are looking at philanthropy to “make a positive impact and reinforce the benefit to the business,” Saul says. “Wall Street is starting to take this seriously.”

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DIS Stock: Is Walt Disney Co Insane to Raise Prices?

Walt Disney Co (DIS) is easily the most impressive entertainment company in the world. Its empire spans so many iconic franchises, brands and characters that the portfolio itself seems as if it was plucked from the world of fiction.

DIS Stock: Is Walt Disney Co Insane to Raise Prices?Disney World, Disneyland, Star Wars, Indiana Jones, Disney Cruise Line, ESPN and many other networks and ventures are among its assets.

Then you’ve got rights to all the classic Disney characters, like Mickey and Goofy, in addition to modern Disney classics likeAladdin, The Lion King and Frozen.

Pixar (Toy Story, Finding Nemo, Inside Out) and Marvel (Spider-Man, X-Men, Avengers) also serve as nice fallbacks. You’d think owners of DIS stock would be sitting pretty.

Instead, Disney shares are down 6% in the past year. That’s largely due to growth concerns with its Media Networks division, ESPN specifically. People are increasingly cutting the cord and ditching cable packages with expensive ESPN programming. Naturally, DIS is doing what it can to combat these issues, but it appears part of that strategy is cranking up fees at its parks and resorts … and that has some customers livid.

First Park Tickets, Now Resort Rates?

Back in October, Disney announced price hikes for several of its theme park passes. As Fortune reported:

“Disney has eliminated its $779-a-year, “premium” pass, which offered unlimited access to its Disneyland and California Adventure parks in Anaheim, Calif., and replaced it with two options: an $849 “signature” pass that offers access 350 days a year (peak periods around major holidays are blocked out) and a “signature plus” card with unlimited access for $1,049.”

In a way, DIS stock owners need this, especially if cable subscribers are increasingly dwindling. While Media Networks accounted for 44% of revenue in FY 2015, Parks and Resorts was the next-most important division, hauling in $16.1 billion, or 31% of all Disney revenue.

October’s hike was followed by more major changes to theme park pricing just last month. Tickets will now cost more during times of high demand — about 20% more. One-day tickets at peak times in Disneyland soared from $99 to $119 for adults, and from $105 to $124 at Orlando theme parks.

But DIS isn’t stopping there. It just raised the cost of its resort dining plans about 5% to 6% across the board. Oh, and it’s seriously considering instituting an additional per-night resort fee. That’s right, Disney “sent out a survey to some visitors about potential $15-per-night fees that would cover Disney Magical Express, MagicBands, priority Fast Pass resort planning, Extra Magic Hours, parking and Wi-Fi.”

Needless to say, customers are pushing back with angry emails and the like.

There’s no doubt that DIS has done a cost-benefit analysis on this stuff. It likely has a team of actuaries working around the clock to determine maximum pain points, and how to squeeze out every last dollar of revenue it can so the Disney stock price can rebound to prior highs.

Bottom Line for DIS Stock

So while the consumer in me sympathizes with the occasional (or, for that matter, devoted) Disney patron who’s getting gouged, I don’t actually think the pushback in consumer behavior will be enough to bring down Parks & Resorts revenue.

Can you really imagine 20% fewer people going to Disney theme parks during the peak holiday dates? Me neither.

In fact, while I feel evil saying it, I think the increases will be great for that division. Frankly, these are probably good changes for Disney stock owners.

Wouldn’t you charge more at times when demand is high and no one else can compete with you?

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New Disney Infinity Play Set and Character Revealed by Macaroni and Cheese

If you’re wondering what the next Disney Infinity play set is, then all you have to do is look at a box of Kraft Macaroni and Cheese, apparently. One kid discovered what’s coming next and went to Twitter to show off what he had found.

Twitter user Ty Dash posted a photo of what appears to be Kraft Macaroni and Cheese (via Eurogamer). The back of the box features the usual ingredients and nutritional information, but it also reveals that Disney Infinity will receive a Finding Dory play set alongside a Dory figure.

If this picture is real, then it would introduce the first underwater characters to Disney Infinity. It’ll be interesting to see how Dory and any other character move around the in-game Toy Box–every figure works with Toy Box mode, but it’s not exactly underwater.

It was announced last week that Disney would not have floor space at E3 this year. The company won’t be releasing a new edition of the game this year, but it plans to continue supporting 3.0 with new play sets and characters based on Zootopia, The Jungle Book, Marvel, Pixar, and Star Wars.

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Disney has a lot more riding on ESPN’s success than we thought

Big games are big business, and no one knows that better than ESPN parent Walt Disney. The media giant acquired ESPN as part of the $19 billion Capital Cities/ABC deal in 1995.

It probably seemed as if ABC was the star attraction at the time, but the ESPN subsidiary that was part of that transaction is the most valuable cable property today.

Wunderlich Securities analyst Matthew Harrigan estimated that ESPN was worth $50.8 billion two years ago. He based his price on the property by performing a discounted cash flow analysis, going with the hefty $4.5 billion that ESPN was supposed to generate in cash flow in fiscal 2014.

Things may appear to be challenging for both Disney in general and ESPN in particular in this era of millennial cord-cutters, but it wouldn’t be a surprise if ESPN is only more valuable today. It’s true that ESPN has been hit by a decrease of subscribers as consumers cancel their cable and satellite television plans. ESPN’s domestic subscriber count has gone from 99 million in fiscal 2013 to 95 million in fiscal 2014 to just 92 million last year. However, a combination of growing affiliate revenue (what cable and satellite television customers pay for access) and robust ad sales find ESPN’s business growing even in this trying climate.

Disney’s doesn’t specifically break out its ESPN performance, but it did reveal that growth at its media networks division for fiscal 2015 — with revenue and segment operating profit up 10% and 6%, respectively — was due in part to higher affiliate fees and higher advertising revenue at ESPN. In short, it’s still growing.

A part of the signage at the main gate of The Walt Disney Co. is pictured in Burbank, California, May 7, 2012. REUTERS/Fred ProuserThomson ReutersA part of the signage at the main gate of The Walt Disney Co. is pictured in Burbank

There are a lot of moving parts to ESPN, and Disney — with its 80% majority stake in ESPN (Hearst Corporation owns the other 20%) — clearly stands to benefit. There are several ESPN-branded networks beyond the main one. There is ESPN2, ESPNU, ESPNEWS, and ESPN Classic. There are also 17 international channels that reach another 127 million households across 60 different countries in four different languages. ESPN also expanded its reach with the launch of SEC Network.

ESPN’s empire doesn’t end there. It has stakes in several international sports networks outside of ESPN. It also watches over ESPN.com — of course — and ESPN Radio. There’s also a magazine, the WatchESPN streaming app, and other online diversions including espnW.

So, yes, ESPN is huge and getting even bigger. With ESPN collecting more than $6 from cable and satellite companies per subscriber — more than 4 times greater than any other individual non-movie cable channel — it doesn’t seem to matter that subscriber growth has been problematic closer to home. ESPN doesn’t make all the right plays, but it’s still winning the game.

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Disney floats hotel resort fee possibility in survey

Could resort fees be coming to Walt Disney World hotels?

Disney has sent out a survey to some visitors about potential $15-per-night fees that would cover Disney Magical Express, MagicBands, priority Fast Pass resort planning, Extra Magic Hours, parking and Wi-Fi.

Disney spokeswoman Andrea Finger said in a prepared statement that “we constantly seek guest feedback on a variety of topics to evaluate our services and offerings.”

Resort fees have become increasingly common at hotels. They are paid in addition to the basic room price and traditionally cover additional hotel amenities such as Wi-Fi, on-site gyms, newspapers or parking.

“I am greatly turned off by this new survey and the nickel and diming direction that Disney seems to be heading in,” said Cathy Beeson of Indiana in an email. “I have always justified paying more to stay onsite for these exact amenities that Disney is now listing as included in a possible resort fee. Although at that price point, $15 isn’t a whole lot in the grand scheme of things and it is still cheaper than arranging private transfers from the airport to the resort etc, it definitely leaves a bad taste in my mouth. It comes across as being greedy when the cost per night is already so much higher than off site.”

Chantel Bitter of Louisiana said benefits of staying on property are already worked into the room rates, she said.

“To so blatantly say, “$15 bucks a night for your magicband usage and extra magic hours”??” she said in an email. “They’re stepping out there with that.”

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Build Your Own Small World in Disney Magic Kingdoms

Gameloft could really use another big hit, seeing as its mostly been in the news for reasons other than its games. Fortunately, it appears to have one of the most no-brainer concepts possible ready to rock: Disney Magic Kingdoms, a builder where you can construct your own Disney Park.

Seriously, it’s a wonder no one decided to put together a Sim City-esque take on Disney’s iconic theme parks before now. As you can see in the trailer above, you’ll be able to plop down real life attractions like Mickey’s Fun Wheel, Astro Orbiters and Monster’s Inc. Laugh Floor, and it appears they’ll all be highlighted by some very cool visual effects.

It’s got to have Space Mountain, though, or it’s a dealbreaker for yours truly.

Gameloft says you’ll be able to visit “The Most Magical Place on Mobile” soon on iOS, Android and even Windows Phone. It’s even showing off a playable build to press at GDC next week.

In the meantime, you can help unlock group rewards for the game’s launch by visiting the Disney Magic Kingdoms official site, registering your Facebook account and spreading the word about the game with friends. Because if you’re a big enough Disney Parks fanatic to get excited by something like this, chances are you know someone else who is too. It’s a small w— … you see where we’re going with this.

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Disney’s Most Important 2016 Movie Won’t Be ‘Captain America: Civil War’ Or ‘Rogue One’

Tomorrow sees the release of the second Captain America: Civil War trailer. It is highly speculated that said April 27th international release for the Marvel Cinematic Universe sequel will see the debut of the first teaser trailer for Rogue One: A Star Wars Story. Those will presumably be the two biggest live-action hits from Walt Disney over the course of 2016, although there is always potential for surprise in either direction. But looking over Disney’s tentpole-filled year, there is one release that stands out as both their biggest mystery and (I would argue) their most important release of the year. I am speaking, of course, of James Bobin’s Alice Through the Looking Glass.

No, that’s not a joke. But for the record, there is a very specific reason why I have been so curious as to the box office fate of this big-budget fantasy sequel. Okay, two reasons, actually. First of all, the original Alice in Wonderland was an eye-popping smash back in March of 2010, earning a $116 million opening weekend (the biggest for a non-sequel ever at the time), grossing $332m domestic and becoming the seventh film ever to top $1 billion worldwide. The film was loathed by critics and not exactly beloved by general audiences. Six years later, it may be a pointed example of an unwanted sequel to a smash hit original that came years too late. Or not…

Now there are any number of factors that went into play six years ago that might not be in effect this time out. Tim Burton is not directing, having stepped aside for James Bobin (The Muppets) and the original film did benefit from being the first big 3D blockbuster after Avatar. It was a female-led fantasy blockbuster in a sea of dude-centric affairs, one which came out while Disney was tripping over itself to create boy-friendly live-action franchises in the wake of Pirates of the Caribbean. And it had Johnny Depp during his peak fame period doing a crowd-pleasing Mad Hatter supporting turn. Maybe the original Alice in Wonderland was the right movie at the right time.

Now having said that, the film could earn a lot less than the original’s $332 million domestic/$1.025 billion worldwide total and still be a massive hit on what I assume is an over/under $200m budget. A performance similar to Angels & Demons (-36% from The Da Vinci Code despite being a vastly superior popcorn entertainment) would still give Alice Through the Looking Glass a whopping $656m worldwide total. Putting aside the “Egad, Tim Burton is lost forever!” think pieces that too many of us wrote back in 2010 (guiltily raises my hand), most general audiences will see a mega-budget and visually spectacular fantasy adventure that is a sequel to that movie they barely remember and mostly enjoyed that looks like a decent way to pass the time for their family over the Memorial Day holiday.

Disney Channel Relies on Its Beloved Brands (and New Apps) to Connect With Kids and Their Parents

The new animated series Tangled: Before Ever After will debut on Disney Channel next year. Disney

Everything old is new again for the Disney Channel, which is reviving many of its most beloved brands for new series and movies it hopes will appeal to kids as well as their parents.

Disney Media—which includes Disney Channel, Disney Junior and Disney XD—shared its new slate of programming at its upfront presentations at Disneyland last week and Disney World this week. It’s the second year in a row the company has opted for smaller meetings, including individual presentations nationwide, instead of a big upfront events in New York.

While its upfront presentations in New York “made a lot of noise,” the company decided that “it makes sense to talk to a smaller group who are really the core customers and the core partners that we have as we move forward,” said Rita Ferro, evp, Disney media sales and marketing, adding that last year’s smaller presentations “worked extraordinarily well for us.”

The Disney kids’ channels—which have recently enjoyed success with Boy Meets World update Girl Meets World, Lion King series The Lion Guard and last summer’s hit movie Descendants, which featured the offspring of famous Disney heroes and villains—have packed their upcoming slates with shows based on the company’s most famous brands and characters.

This summer, Disney will release Adventures in Babysitting, a movie with Elisabeth Shue based on the 1987 comedy. Next year will see the debut of Tangled: Before Ever After, an animated series set between the events of the 2010 feature movie, Tangled, and the 2012 short film, Tangled After Ever. Mandy Moore and Zachary Levi will reprise their voice roles from the film and be joined by Ashley Judd, Jeffrey Tambor and Sean Hayes. Also in 2017, Disney XD will air Big Hero 6, an animated series that picks up right where the 2014 movie left off: following the adventures of 14-year-old tech whiz Hiro, robot Baymax and their pals who form a superhero team.

Next year will also feature a Descendants sequel, while Disney is prepping High School Musical 4, launching a nationwide casting call to find new East High Wildcats to fill the shoes of previous leads Zac Efron and Vanessa Hudgens.

“We absolutely believe that heritage stories can be reimagined and reborn into different extensions of that, and that’s what you’re seeing with all of these things,” Ferro said. “And we’re going to continue to do more, because they really resonate with families. They are great stories, great characters that transcend generations.”

Its part of the “magic of story” theme that Disney is emphasizing at its upfront meetings: Quality brands and content matter more than ever. “It’s the importance of having strong brands and characters in a world of so much media choices,” Ferro said. “You really have to have something that a lot of people engage with emotionally to make sure it works.”

In addition to rolling out its new slate, Disney is explaining to partners how its four main audience segments—kids, tweens, mothers of preschoolers and millennials—are engaging with content and what Disney and advertisers can do to serve them best.

When it comes to preschoolers, “we’re making sure we’re engaging with mom as well as the 2- to 5-year-olds, because mom at the end of the day is leading that programming decision,” said Ferro, explaining that Disney works with clients to connect with her on her mobile device (her “first screen” while kids content is on) and through social media.

Meanwhile, 70 percent of kids’ media consumption is via traditional, linear television, but they are also spending more time playing games and watching video online. Seventy percent of kids watch video on mobile devices at least once a week. Starting this month, Disney will make new episodes of its original series available on its Watch apps and VOD the same day they premiere on linear, rather than a day later.

Tweens are spending more time on social. And the fourth category, millennials, is one that  “people don’t necessarily think about Disney for,” Ferro said. “But you have an entire generation of kids who grew up with the Disney brand, and if you go on YouTube and on social media, there’s a ton of Disney art and fashion and tattoos. It’s a whole culture and generation that was really very much brand loyal to this brand, and they want to express it in new ways.”

The company is focusing on digital growth for kids and tweens spending more time with digital video and gaming while millennial moms do the same with social. Last month, Disney released a Mickey Video app—which was previously available on iOS devices—for Apple TV. The ad-supported app features Mickey and Friends short-form videos, classic cartoons and other curated collections featuring Mickey Mouse, Minnie Mouse, Donald Duck, Goofy and Pluto.

Disney is also prepping a new microcontent app, launching later this year, which will contain content that is less than two minutes long from Disney Channel, Disney XD, original Disney Interactive Media social content, Star Wars and Marvel. The free, ad-supported app will be available for iOS and Android devices. “Kids like to swipe, but they like to swipe for things that are silly, funny, odd, crazy, and so the content is actually categorized by those feelings more than actually by the brands that they’re from,” said Ferro.

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Penguin to publish Disney books in India

NEW DELHI: Disney’s iconic Mickey and Friends characters as well as Aladdin, Peter Pan, Pinocchio, Dumbo and the cast of “Jungle Book” will now be published in the country by Penguin Random House, which on Tuesday announced the launch with Disney India’s consumer products business.

Published under the Puffin imprint and aimed at young readers, the fully-illustrated books will include readers, storybooks, colouring and activity as well as novelty books.

The first series of titles is set to be available to consumers from March 14, publishers said.
The books include Dumbo and Aladdin colouring books, Jungle Book, Dumbo and Peter Pan Treasured Classic Editions, Peter Pan and Dumbo storybooks and readers Mickey’s Round Up, Donald’s Special Delivery, Minnie’s Rainbow, Minnie Red Riding Hood and Mickey Mouse Flies the Christmas Mail.
“Puffin India has long published some of India’s finest writing for children with generations brought up on books from authors including Ruskin Bond, Sudha Murty and APJ Abdul Kalam. We are delighted to now be working with Disney India to bring their well-loved characters to readers with a specific range of Indian publishing,” Gaurav Shrinagesh, CEO, Penguin Random House in India said.
“Disney is synonymous with storytelling. We all have grown up reading Disney stories and are familiar with Disney characters. We are happy to be working with Puffin India to launch a series of Disney books for the new generation of readers in the country,” Abhishek Maheshwari, VP & head, consumer products, Disney India said.

Disney Expects $75 Million Loss on ‘The Finest Hours’

UPDATED: Disney CEO Robert Iger said the company expects to take a loss of $75 million on “The Finest Hours,” the sea-going ocean rescue film that opened the year as one of the conglomerate’s few flops.

“We also had a miss this quarter,” Iger said at the Deutsche Bank Media, Internet and Telecom Conference. “That will be a negative of about $75 million.”

Although the production cost of the film has not been announced, the film starring Casey Affleck and Chris Pine had substantial CGI work. It made just over $40 million at the box office worldwide.

Although it did passably with critics and many of those who saw it, scoring a 58 on Metacritic and an A- Cinemascore, the 1950s-set drama about a Coast Guard crew rescuing sailors on a freighter failed to gain momentum. Unlike most Disney hits, it was not tied to a superhero or well-known piece of intellectual property. And though it was based on a real-life story that was the most dramatic rescue in the history of the Coast Guard, it was linked to the smallest branch of the U.S. armed services and to a more-than-half-century-old incident few in the public knew about.

Though he acknowledged the film fell short, most of Iger’s hour-long presentation was about Disney’s success with the vast majority of its films. He told  investors at the conference that Disney Studios had previously returned about 10% on invested capital but that results had improved dramatically of late — to more than 20% returns in 2014 and to more than 30% in 2015.

He also said the prospects for 2016 were great, with the huge success of “Star Wars: The Force Awakens” and the recent smash opening for “Zootopia,” which surpassed “Frozen” to record Disney Animation’s biggest-ever opening.

Iger also described the almost uniform success of Disney’s three powerhouse subsidiaries. Since the acquisitions of Pixar, Marvel and Lucasfilm were all completed, there have been 26 films released, 25 of which made money, with an average global box office of $760 million. Iger noted that those big results do not include ancillary revenue from consumer products, theme park attractions, games and the like. “In some cases, we are just getting started,” he said, referring to the short time lapse since the release of the seventh “Star Wars” installment.

As he has frequently in recent months, Iger was also asked to make a case for the resiliency of ESPN, the all-sports network that has seen some subscriber declines. The Disney CEO said the business will continue to grow because of the popularity of live sports and the many rights packages ESPN controls. He said the network will remain a growth engine for Disney in the future. “It’s going to grow, but just not in the way it has in the past,” Iger said.

The Disney chief noted that the conglomerate relied on intermediaries to bring many of its products to the public — cable television operators, movie theater owners and big box retailers included. He said many of those arrangements had worked well for the company but that, in the future, he expected Disney to seek out more direct access to consumers.

He noted that, with theater owners showing its blockbusters, “We don’t have any idea who went to see ‘Star Wars.’ ” Across all the companies businesses, he said, “reaching  people more directly is a priority for us.”

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