Even Disney Princesses Need HPV Shots, Cervical Cancer Screenings And STD Testing

After Belle marries the Beast and Tiana opens her restaurant with Naveen and Aladdin and Jasmine fly off to see the world on a magic carpet honeymoon…then what? As they’re living happily ever after, there’s probably some sex involved at some point. And that means even Disney princesses need to take responsibility for their reproductive health.

Enter writer and sex ed speaker Danielle Sepulveres and artist/illustrator Maritza Lugo, who collaborated on a series of illustrations at Sepulveres’ Tumblr showing Disney princesses visiting their gynecologists to raise awareness for Cervical Cancer Awareness Month and all the healthy behaviors that women can take to reduce their risk of this almost completely preventable cancer. Sepulveres became frustrated last fall when she and fellow writer friends had trouble successfully pitching stories to write about Gynecological Cancer Awareness Month in September. After sharing her frustration in a blog post at a cervical cancer “cervivors” site, she decided she needed a new approach to catch people’s attention when January rolled around.

Tiana, of Disney's The Princess and the Frog, gets an HPV vaccine that will reduce her risk of HPV and, by extension, cervical cancer. Illustration by Maritza Lugo

Tiana, of Disney’s The Princess and the Frog, gets an HPV vaccine that will reduce her risk of HPV and, by extension, cervical cancer. Illustration by Maritza Lugo

“Almost every day my timeline on social media is bombarded with re-imagined Disney princesses in one way or another and most people get a huge kick out of it,” she told me. “So one day it hit me—had anyone ever drawn them going to the gynecologist before?”

There was one problem, however: she can’t even draw stick figures. So she reached out to Lugo, whose website features a style well suited to placing icons like Cinderella and Mulan in a new context.

“I was absolutely honored when Danielle asked me to illustrate these images,” Lugo told me. “She told me she was trying to convey how important it is for women to be educated on all fronts when it comes to their bodies.”

More than 12,000 women were diagnosed with cervical cancer in 2012, the most recent year for which data are available, and more than 4,000 died from the disease, according to the CDC. Yet with highly accurate screening methods and avaccine that prevents human papillomavirus (HPV)—the underlying cause of nearly all cervical cancer and several other cancers—those numbers could be reduced to almost zero. Several obstacles stand in the way.

“There is a stigma attached to HPV and cervical cancer, and the media plays a part in perpetuating it,” Sepulveres said, even though the majority of sexually active individuals will contract at least one strain of HPV at some point in their lives. “I want women to know that even though they don’t have a celebrity ambassador, they don’t need to be embarrassed and they don’t need to feel ashamed.”

That same stigma helped drive documentary filmmaker Frederic Lumiere toproduce the filmSomeone You Love: The HPV Epidemic,” featuring the Cervivor website creator, Tamika Felder. In that film, at least one woman went for regular screenings and still developed cancer that might have been prevented with the HPV vaccine, yet uptake for the vaccine, recommended for boys and girls around age 11 or 12, remains low: about 60% of girls and 42% of boys received at least one dose in 2014, and just 40% of girls and 22% of boys received all three doses.

Hesitancy on the part of doctors and misconceptions about the vaccine have been big parts of the problem for vaccine uptake, but access to women’s health services and ineffective sex education are even bigger problems thwarting women’s ability to take charge of their health, Sepulveres pointed out.

“We need better comprehensive sex education as whole in this country, we need doctors who aren’t afraid to speak up, and we should point out the success in Australia that has come from the vaccine,” she said.

If nothing else, she and Lugo hopes it gets people talking when they see Aladdin and Jasmine discussing family planning, Belle picking up emergency contraception, Cinderella getting tested for STDs, Mulan undergoing cervical cancer screening and Tiana getting her HPV vaccine.

The Disney princess Mulan sees her gynecologist for her regular cervical cancer screening, which could involve a Pap test and/or an HPV test. Illustration by Maritza Lugo

The Disney princess Mulan sees her gynecologist for her regular cervical cancer screening, which could involve a Pap test and/or an HPV test. Illustration by Maritza Lugo

Belle, of Disney's Beauty and the Beast, visits a clinic to pick up emergency contraception. Illustration by Maritza Lugo

Belle, of Disney’s Beauty and the Beast, visits a clinic to pick up emergency contraception. Illustration by Maritza Lugo

Cinderella has blood drawn for STD testing. Illustration by Maritza Lugo

Cinderella has blood drawn for STD testing. Illustration by Maritza Lugo

Jasmine and Aladdin discuss family planning options with a doctor. Illustration by Maritza Lugo

Jasmine and Aladdin discuss family planning options with a doctor. Illustration by Maritza Lugo

Special thanks to Danielle Sepulveres and artist/illustrator Maritza Lugo for providing permission to repost the images. Check out their websites and follow both Danielle and Maritza on Twitter.

 

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Disney’s plan to launch drones reignites no-fly zone debate

Disney is asking the U.S. government for an exemption to its existing no-fly restrictions so that it can launch flocks of drones over Disney World and Disneyland, a move that’s being met with ire.

Critics say Disney used its lobbying muscle in Washington to block aerial advertisers under the guise of national security concerns after the 9/11 terror attacks.

FILE PHOTO

Critics say Disney used its lobbying muscle in Washington to block aerial advertisers under the guise of national security concerns after the 9/11 terror attacks.

Florida pilots know the rule well — you better steer clear of Disney’s Magic Kingdom, or else. It has been a no-fly zone for over a decade — a luxury afforded to none of the other 400 theme parks in the United States, and a point of contention lingering over “The Happiest Place on Earth.”

But now Disney is asking the government for an exemption to the no-fly restrictions so that it can launch flocks of drones over Disney World and Disneyland, a move that has resurfaced frustrations and a debate in the aviation world over the merits of the no-fly zone.

“It was controversial that [Disney was] able to get those put in place in the first instance,” said Enrico Schaefer, a lawyer handling drone litigation at Traverse Legal. “Now for them to come back to ask for the exemption to fly within these areas that are restricted, it just seems like salt in the wounds to a lot of other folks in the aviation community.”

Critics say Disney used its lobbying muscle in Washington to block aerial advertisers under the guise of national security concerns after the 9/11 terror attacks. It was a win for Disney, which is no longer troubled with planes towing banners over the Magic Kingdom. Now Cinderella Castle and Tom Sawyer Island have the same kind of protections reserved for the White House and U.S. Capitol.

Disney, which has previously said air restrictions over large gatherings enhance public safety, declined to comment for this story.

Aerial advertisers, however, argue the no-fly zones aren’t even effective at stopping terrorists. They say a rogue pilot could make a dash from the edge of the zones and crash in the restricted space before anyone intervenes.

“We’re not going to start bombing or crashing into the stadiums. They made it a safety issue when all it is, is the TV networks don’t want the signs and banners giving free advertising,” said Remy Colin, the owner of Aerial Messages, an advertising firm based in Florida.

While Disney wants to be exempt from the no-fly zone, it also wants the federal government to bend its rules for how businesses use drones.

The Federal Aviation Administration’s proposed drone rules only allow daytime flights. And a pilot can only control a single drone at a time. Disney is asking to fly drones during its evening fireworks show, and to have a team of between two and four employees monitoring up to 50 automated drones.

It argues in its filing to the government that flying the drones is safe because they weigh 10 pounds (4.5 kilograms) or less, go no faster than 7 m/h (11.2 km/h) and will operate a small space at least 100 feet (30 metres) from where guests will be standing.

“The technology is certainly exciting, but the regulatory process is atrocious,” said Marc Scribner, research fellow at the Competitive Enterprise Institute. “Justifying the flight restrictions over Disney parks has always been laughable and was always a product of undue favouritism.”

Some aviation experts point out that if Disney wants to fly drones, then it may not be able to have its cake and eat it too.

“The better course for Disney would be to remove the [temporary flight restrictions] and be like any other American company who has to allow flight over their operations unless there is a special reason why that shouldn’t occur,” Schaefer said.

A FAA spokesman said the Disney case dates to 9/11, when temporary flight restrictions were issued over all major professional and collegiate sporting events as well as major open-air assemblies of people. The agency points to laws Congress later passed as making the restrictions permanent. The laws the FAA cites, however, do not specifically mention theme parks.

The agency said the restrictions are for major open-air assemblies and sporting events based on the sheer size and number of people. Yet other theme parks draw large crowds too, and don’t enjoy such flight restrictions.

Of the restrictions dating from 9/11, Disney’s no-fly zones are especially restrictive. While the no-fly zones affecting high-level sporting events are generally only in effect during game times, Disney’s restrictions are in effect even when the park is closed, and no crowds are present.

Whether Disney will be able to loosen these restrictions is up in the air. Some who have watched Disney’s savvy maneuverings in 2003 think they’ll get what they want, once again.

“I would be surprised if they don’t get the exemption because of the past history with all the politics and the stuff they do,” said Jim Miller, the owner of Air America, an aerial advertiser that works mostly around Detroit and protested the no-fly zones back in 2003. “Big money wins over the hard working individuals.”

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Disney’s prized theme-park no-fly zone means it can’t use drones in its firework shows

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The no-fly zone has been hugely contentious among pilots who have to diverge from their flight-paths to avoid Disneyland and Walt Disney World as though they were a military base or the White House. Now, those pilots are enraged that Disney has petitioned the FAA for an exemption to the rule so that it can fly swarms of 50+ effects drones during its fireworks shows.

“It was controversial that [Disney was] able to get those put in place in the first instance,” said Enrico Schaefer, a lawyer handling drone litigation at Traverse Legal. “Now for them to come back to ask for the exemption to fly within these areas that are restricted, it just seems like salt in the wounds to a lot of other folks in the aviation community.”

Critics say Disney used its lobbying muscle in Washington to block aerial advertisers under the guise of national security concerns after the 9/11 terror attacks. It was a win for Disney, which is no longer troubled with planes towing banners over the Magic Kingdom. Now Cinderella Castle and Tom Sawyer Island have the same kind of protections reserved for the White House and U.S. Capitol.

Disney, which has previously said that air restrictions over large gatherings enhance public safety, declined to comment for this story.

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NRF Big Show 2016: Disney – It’s not just our customers who are changing, it’s our workforce

Disney retail executive vice-president says that the firm had to re-think its in-store training programmes for a digitally enabled millennial workforce

 

Speaking at NRF 2016 in New York, Gainer claimed the firm is adapting its in-store experience to reflect both the customers who expect to use digital and the millennials who are increasingly joining the workforce.
“Not only is our consumer make-up changing, but for the first time more than 50% of cast members in our stores are millennials,” said Gainer.

“We’ve had to think about that and how we train and develop them, how we use technology, and how we provide the information that makes them more successful on the front lines.”

Customer expectation has changed, and Gainer said a combination of consumer focus on mobile and online has forced Disney to adapt its in-store and online experience.

“Mobile is playing a much bigger role and, similar to industry trends, recently around half of traffic and a quarter of our business has been coming through mobile platforms,” said Gainer. “They’re using mobile in a variety of different ways.”

For Disney Retail, more than two-thirds of consumers using mobile to purchase goods have made a recent purchase in brick and mortar stores. More than a third of those using mobile have also made a purchase online, and many are using mobile in store.

However, Gainer said that because more than 95% of the merchandise sold in Disney stores is exclusive to bricks and mortar, the use of mobile in store is not for “showrooming” or price comparison, but more for extended franchise experiences.

“Omni-channel or seamless channel is a great concept, but it’s only one part of what we’re looking to do to meet the needs of the future consumer,” he said.

 

Teaching initiative Hour of Code has teamed up with Disney to encourage children to create games with Star Wars characters – and learn coding skills along the way.
The Walt Disney Company is using wearable technology to improve customer experience and engage with visitors.
Gainer explained that his division recently underwent some restructuring of its vertical business, and consolidated its different brick and mortar offerings and e-commerce under one Disney Retail division to ensure an easier single customer view.

“In our division is the consumer products and interactive media. Not only have we combined all physical and digital together, but we’ve taken virtually every area in our organisation and created a franchising orientation,” said Gainer.

“It’s about the brand and about the franchises because what we know about our guests and our consumer is that they love a character, they love a franchise, they love a story and they connect to that.”

Disney’s data insight

The utilisation of data is becoming increasingly important for gaining consumer insight. Gainer explained it was the use of data, rather than the volume, that allowed businesses to really connect with consumers, provided they utilise the data properly.

“How are you going to apply that with the sole goal of making that consumer experience and connection to your brand great?” said Gainer. “The future consumer is going to expect a quality experience and we want to deliver on that.”

Disney is one of the world’s largest licensees. It’s known for its “unprecedented content” which creates a unique brand experience, but customers are constantly forcing retailers to change.

“We see the content moving forward,” said Gainer. “Our focus really is on guest experience and guest services, and it’s a big part of the heritage of our brand.”

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Disney isn’t bringing back ‘Darkwing Duck’ — but here are 9 reasons it should

Darkwing
VIDEO: YOUTUBE, MRKHANOR
Let’s get dangerous.

Everyone loves Darkwing Duck, the caped canard who first flapped his way into the Disney Afternoon lineup in 1991. In fact, we love him so much that the Internet was willing to believe this April Fools’ Day article last year that said Disney was preparing to reboot the series with all-new episodes.

And then, on Thursday, a bunch of websites fell for the same prank again. “Darkwing Duck” was trending on Twitter for hours before everyone realized the mistake.

Then again: When there’s trouble, you call DW. Who better to solve this situation than Darkwing himself? We think Disney really should bring back this esteemed hero, and here are 9 reasons why:

Mandarin ‘Lion King’ roaring into Shanghai Disney Resort

THE Walt Disney Grand Theatre, a new 1,200-seat Broadway-style performance venue in the Shanghai Disney Resort, will host the world premiere of the Mandarin-language version of The Lion King when the resort opens this June.

Since its premier on Broadway some 19 years ago, The Lion King has become the highest grossing musical of all time in New York, as well as one of the world’s most popular stage shows. More than 80 million audience members have already seen The Lion King in theaters around the world.

The Grand Theatre is located in the Disneytown area of Shanghai’s soon-to-open Disney resort.

The new Mandarin production promises to bring the excitement and artistry of the smash Broadway production to Chinese viewers in their native language. Those involved behind the scenes have already been swept away by the show’s magic.

“I’ve always been a big fan of Disney, but I never thought my love of theater and Disney would come together,” said Fred Hemminger, the theater’s general manager.

Hemminger has been with Disney for seven years. Prior to coming onboard, he worked on a number of Broadway productions, including as company manager to The Lion King.

The opportunity to go to Shanghai came along during the show’s North American tour. “They were looking for someone with experience in the show to take part in its Shanghai project.

I’d never been to China before, so I thought ‘why not’?” the manager said.

A big part of his work so far has been recruiting local talent. Over the past year, Hemminger and his team have been auditioning on-stage performers, backstage crew members and local artisans who have what it takes to honor The Lion King’s original vision in a way that is distinctly Chinese.

Of course, the major point of departure for this new production is the show’s language.

“If you’ve seen the show on Broadway, you are going to see the exactly same show here, but everything in English will be in Mandarin,” explained the manager. “However, ‘Hakuna Matata’ will still be ‘Hakuna Matata’.”

Certain features of the show’s humor will also be localized to appeal to Chinese viewers.

“In America, Timon and Pumbaa have Brooklyn accents, but here that doesn’t really work,” Hemminger said. “So physically you will be seeing the same show, but adapting to local sensibilities, which is also a big part of what we’re doing, especially when it comes to the jokes.”

While the team is still hiring cast members, the manager says the cast list is almost complete. Hemminger and his team held auditions not just in Shanghai and Beijing, but also in locales as diverse as Wuhan (Hubei Province), Chengdu (Sichuan Province), Shenyang (Liaoning Province), Taipei, Macao, Hong Kong and so on.

“We’re still auditioning for kids. So if you have a child, age 8 to 11, who loves music and performance, come to us,” the manager added.

Located in the resort’s main shopping, dining and entertainment area, the theater is adjacent to Shanghai Disneyland. This means that audience members will not have to purchase admission to the theme park to see The Lion King.

“It’s a part of Disneytown, so you can have dinner, go shopping, and see THE LION KING. You are not required to have a park ticket for the show,” Hemminger said. “It’s a separate ticketing experience, but they complement each other very well.”

As the manager also explained, this is the first time The Lion King will be staged so close to a Disney theme park.

“It’s actually exciting to have two such wonderful things from Disney side-by-side, where you can experience both in one trip,” Hemminger said. “I hope Chinese audiences enjoy the show. The audience always helps make the experience each time a little bit different, that’s what I love about theater.”

Produced by Disney Theatrical Group, The Lion King to date has been performed in 19 countries, and every continent except Antarctica. Translated into eight different languages, productions of the show can currently be seen on Broadway and on tour across North America; London, Tokyo, Madrid, Hamburg, Mexico City and Perth.

At the time of its opening, the Mandarin production will mark the 9th concurrent worldwide production of The Lion King.

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‘Planet Coaster’ Is On Track To Replicate Disney Parks

I’ve been attending theme parks for years. Six Flags, Universal Studios, Sea World, and the crown jewel, Disney. You may have your favorites, but numbers never lie.  Six Flags may have the most roller coasters (Six Flags Magic Mountain in Valencia, CA has 19 alone), but in terms of revenue and attendance they don’t even crack the top 25. Disney is a master at the theme park game, seeing attendance of 134 million in 2014, to all of its parks around the world. Magic Kingdom in Florida hosted 19 million people that year. In 2013, Disney theme parks generated $14B in revenue.

The best theme parks offer an immersive experience for attendees, in addition to great rides. Themed food, designed stores and buildings, everything.

The first Roller Coaster Tycoon hit shelves in 1999. It gave players an opportunity to build their very own theme park, all the way from massive roller coasters right down to the placement of bushes and trees. You could create themed lands, exactly like real theme parks.  The first game in the series was developed by Chris Sawyer and MicroProse, and published by Hasbro HAS -2.78%.

The second game in the series was again developed by Sawyer but released by  Infograms.  Between these two games, there was very little change, some updates and upgrades, but little else. It was essentially the same game with a few more features. And that was a good thing.

In 2004, the third installment was released, the aptly named Roller Coaster Tycoon 3. This time around, Sawyer was only a consultant and Frontier Games took over principal development. And this game was a departure from the original two. It was more cartoon-y. It felt as though it were designed for a wider audience, which meant that it had a more kid-friendly feel. Something was lost in the transition. It was a different game. But that wasn’t necessarily a good thing.

I played all three. And it’s a hard transition going from something that plays on the heartstrings and reminds you of childhood, to becoming something designed exclusively for kids. Now, I can’t say for a fact that was what Frontier had in mind. But as a player, the experience was different. Vastly different. The first games were done in the vein of Sim City, an overhead omniscient builder in control of the fate of an amusement park. RCT3 included a feature that allowed you to actually ride on the rides you designed. And that was interesting. But the feeling of being a mogul was dissipating.

This year, two games are slated to hit the market. One by Atari, who holds the license for the RCT franchise, and one by Frontier Games. Both games are theme park simulators. Nvizzio, who is developing for Atari, recently had a Beta for their game, Roller Coaster Tycoon World. And that has been released of that Beta is beautiful. But it also looks generic. Intricate, detailed, but generic. There were also enough issues that the release date for RCTWorld was pushed from 2015 to 2016.

The videos being released by Frontier…are not. So far, all we have are a handful of developer video diaries, but what we can see coming together in those videos is a whole new experience. A return to what the roller coaster games were intended to be. According to them, attendees to the parks will take notice of more elaborate decorations. They will be happier than if the park was more basic.  The developers are actively encouraging players to integrate scenery and design completely.

This is something we see in the real world, and something they undoubtedly took note of. If you are attending a theme park, odds are you want the whole thing to be an experience. Themed decor, themed food and drink, themed rides. Sure, basics are fine, if you’re going for just the thrill. If you want to be on that roller coaster that causes an adrenaline rush over that first hill, that’s fine. But who doesn’t want to go somewhere and feel like they’ve traveled to another world? Well, as it turns out, the people at Frontier Games want you to bring that sensation to the little digital people who will be attending your theme park.

One of the biggest complaint about parks in the real world that only offer thrill rides is they have no sense of style. No depth for park-goers to get lost in. The two best at offering this immersive experience are Disney and Universal Studios. With each park, every ride, every land is an experience. Everything is designed to be as immersive as possible. And it is this experience that Frontier as, so far, replicated with Planet Coaster.

The ultimate question will not boil down to name recognition. It’s been a long time since we’ve seen a good, and successful, RCT game. In fact, the last one that sold relatively well was made by Frontier Games. What this head-to-head battle will come down to is the game itself. Now, some might argue that it really comes down to sales and that comes down to which company do people back and what name is most recognized. But I disagree. And here’s why.

The original RCT games were about two things: roller coasters, and the park. You were trying to make your guests happy. You were trying to make money. You could just make coasters, and that was fine. But if that was the case, why the use of the word ‘Tycoon’? Because no one cares about what you do if what you do doesn’t make money. Doesn’t attract attention. That’s harsh, but let’s be honest, they were the ones that chose ‘tycoon’ for their title.  Could have been simulator, could have been builder. No, it’s tycoon. Which brings me back to my original point. Who has been able to dominate the theme park business? In America, three names. Universal Studios, Six Flags, and Disney. These three are the giants, the juggernauts when it comes to crafting an experience.

There is one difference between them. Six Flags has a more muted experience, wanting attendees to be thrilled by the rides themselves. They may say differently, but after attending them, I go there for the rides, not the ambiance. I go to Disney and Universal for the combination. The amazing rides and the atmosphere. There’s something about the combination of the two that makes the experience more magical. Going into the ‘Jurassic Park’ island, being surrounded by dens jungle, and then boarding a ride. Or wandering down cobblestone streets, finding an old, creepy gate, snaking your way through a graveyard, before riding ‘Haunted Mansion’. These are undeniable experiences. Richer and more satisfying. And this is what Frontier is showing us for Planet Coaster.

The game still looks on the comic side, as if it were designed for a younger audience, but somehow that doesn’t seem to matter. It looks intriguing. It looks inviting. Yes, the graphics are softer than that of Roller Coaster Tycoon World. But at the same time, Planet Coaster looks like it has that critical component that makes real world theme parks successful. Personality.

Now we just have to wait and see if that’s the case.

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Marvel Battlegrounds for Disney Infinity 3.0 hitting Xbox and Windows 10 on March 15

The popular cross-platform game, Disney Infinity 3.0, is getting a new play set expansion on March 15 from the Marvel universe. Snippets of information have been available for some time but in an announcement today, VP of Production for Disney Infinity, John Vignocchi, announced the launch date, price and details on the set you’ll be buying. And pre-orders start immediately at selected retailers. In Europe it looks like a March 25 release.

“We’re just two months away from the launch of the Marvel Battlegrounds Play Set, and I’m happy to announce that, beginning today, you can pre-order the Play Set. It hits stores on March 15, and for those of you who don’t know much about Marvel Battlegrounds, I can tell you that it’s one of the most fun play sets we’ve ever made, and unlike anything we’ve ever offered.

Marvel Battlegrounds is a four-player, arcade-style brawler that allows you to battle with up to three friends locally. You get to play in 12 levels across eight all-new arenas, including Knowhere and Wakanda. You’ll also be able to battle as any playable “Disney Infinity (2.0 Edition): Marvel Super Heroes” figure, making Marvel Battlegrounds the Play Set with the largest selection of playable characters.”

The play set will, as ever, be a buy once use on any supported platform affair. Whether you’re playing on Xbox 360, Xbox One, Windows 10, Steam, PlayStation, Wii U or the Apple TV, the figures and play set piece will be compatible. PC players will need to cash in the web codes to claim, since there’s no physical base included. In the U.S. the new set will cost $29.99, a slight reduction on regular Infinity prices but you also only get one figurine. Pre-orders in the U.S. until March 14 at some retailers will include a free Marvel figure from the 2.0 release to use in the game.

While Marvel Battlegrounds will be compatible with any Marvel characters from the 2.0 and 3.0 versions of the game, included in the price is the brand new version of Captain America. Fashioned around the Captain America seen in the Civil War movie. But what actually is it? Unlike most other Infinity play sets, Battlegrounds is a combat based multiplayer experience. So far, Disney is only referring to local multiplayer, but something like this is obviously set up for online action. But Disney has mostly kept its cards close to its chest thus far.

If you’re yet to dive into Disney Infinity 3.0 you can grab the base game for free on Windows 10 (with Xbox Live support) or in starter pack form for Xbox One and Xbox 360.

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‘I am thrilled!’ David Campbell shares his excitement at voicing a koala in forthcoming animated Disney adventure Zootopia

He’s set to take to the stage next month when he stars in the musical Disney Under The Stars.

And David Campbell has scored another impressive gig with the iconic company, with the brand revealing on Thursday he has voiced a news-reading koala character in new animated movie Zootopia.

The 42-year-old father of three will appear in the Australian and New Zealand version of the film, with David taking to Instagram to share his excitement.

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'What a thrill': David Campbell has scored another impressive gig with Disney, voiced a koala newsreader character in the new animation, Zootopia

Sharing a picture of his new character – a marsupial in a green suit – The Mornings co-host wrote that he was looking forward to the role.

‘Hey guys I am thrilled to have voiced a role in a Disney movie! Called Zootopia and I play this Koala Bear news reader. Only problem?? He needs a name. Any suggestions? I like David Koalabell,’ he wrote, before adding a link for fans to possibly win tickets.

David’s character as he stated is yet to be named, but fans get vote on Walt Disney Studios Facebook page.

His character: The 42-year-old father of three will appear in the Australian and New Zealand version of the film, with David taking to Instagram to share his excitement

His character: The 42-year-old father of three will appear in the Australian and New Zealand version of the film, with David taking to Instagram to share his excitement

The three options are David Koalabell, David Camkoala and David Camkoalabell.

In an official press release from Disney, David’s character will appear on screen alongside his panther news reading co-anchor.

The film centres around a city full of animals, and in particular, Ginnifer Goodwin’s bunny character Judy Hopps, who plays a police officer.

Other stars voicing characters include Jason Bateman, and it is expected to be released on March 17.

In good company: The film also stars the likes of Ginnifer Goodwin and Jason Bateman

In good company: The film also stars the likes of Ginnifer Goodwin and Jason Bateman

David – who shares three young children with wife Lisa – will next month perform in Disney Under The Stars.

The musical will see the cast performing some classic Disney songs, from films including The Lion King, Frozen and Aladdin.

The likes of Australian singer Ricki-Lee Coulter and Lucy Durack will also be in the show.

David’s management has been reached for comment.

New gig: David - who shares three young children with wife Lisa - will next month perform in Disney Under The Stars, alongside the likes of Ricki-Lee Coulter, Lucy Durack and Harrison Craig

New gig: David – who shares three young children with wife Lisa – will next month perform in Disney Under The Stars, alongside the likes of Ricki-Lee Coulter, Lucy Durack and Harrison Craig

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Disney delays release of next ‘Star Wars’ to late 2017

The next and eighth episode in the Star Wars saga will premiere in December 2017, seven months later than originally planned, Disney and Lucasfilm announced yesterday.

“The move follows the extraordinary success of Star Wars: The Force Awakens, which was the first Star Wars movie to premiere outside the traditional summer blockbuster window and smashed numerous records,” the studios said in a statement on the website www.starwars.com.

The seventh episode in the series, The Force Awakens, quickly surpassed the $760.5 million record set in 2009 by Avatar to become the top-grossing film ever in the North American market.

The film has now grossed $858.9 million in North America and $1.865 billion worldwide.

The next episode will be directed by Rian Johnson, who helmed the 2012 sci-fi thriller Looper, starring Bruce Willis, Joseph Gordon-Levitt and Emily Blunt.

It will feature the stars of The Force Awakens, Adam Driver, Oscar Isaac, Daisy Ridley and John Boyega.

The movie is in pre-production, with filming set to begin next month in London, the studios said.

The next episode follows the success of 'Star Wars: The Force Awakens'. (Supplied)

The next episode follows the success of ‘Star Wars: The Force Awakens’. (Supplied)

Disney and Lucasfilm plan to release a further installment, Episode 9 of the saga, on May 24, 2019.

A spin-off, titled Rogue One, which will be set shortly before the events portrayed in the original 1977 Star Wars film, is set to reach screens on December 16.

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