English Entertainment
Disney showcases perfect marriage of creativity and tech at shareholder meeting
MUMBAI: The Walt Disney Co held its 2025 annual shareholder meeting on Thursday, with boss Bob Iger waxing lyrical about the firm’s “perfect marriage of exceptional creativity and groundbreaking technological achievement” which, he insisted, “has always set Disney apart.”
“Since the company’s earliest years under Walt, technology has always been viewed as a powerful storytelling tool, and innovation has been in our DNA since the start,” Iger declared in a video message from Walt Disney Imagineering’s headquarters in Glendale, California.
In a move that would make even Darth Vader crack a smile, Iger was joined by a flock of BDX droids—the same mechanical marvels that have been harassing guests at Disneyland—which will soon make their silver screen debut in The Mandalorian and Grogu, next year’s highly anticipated Star Wars cash cow.
The mouse house enjoyed a whopper of a year at the global box office in 2024, with Iger crowing about its “outstanding” performance following a reorganisation that “restored creativity to the centre of our studios.”
The company’s popular franchises brought home the bacon, with Pixar’s Inside Out 2, Marvel’s Deadpool & Wolverine, and Walt Disney Animation Studios’ Moana 2 claiming the top three spots at the box office. Talk about a triple threat.
Disney’s critical success was equally impressive. “Our renewed focus on quality over quantity has also resulted in outstanding critical success,” Iger boasted, noting that the company bagged a whopping 60 Emmy Awards, led by Shogun and The Bear. The firm also scooped 15 Oscar nominations, with Kieran Culkin winning Best Supporting Actor for his turn in Searchlight Pictures’ A Real Pain.
Looking ahead, Iger dropped a bombshell: a sequel to Coco, Pixar’s 2017 Academy Award-winning tearjerker, is in the works. “While the film is just in the initial stages, we know it will be full of humour, heart, and adventure,” he said, no doubt sending Mickey-shaped dollar signs spinning in shareholders’ eyes.
The Disney chief was keen to remind everyone that all these cinematic delights “will all be accessible on Disney+,” expanding the firm’s “rich library of a century’s worth of storytelling.”
“By giving subscribers the option to watch what they love most from across the worlds of Disney, all in one place, we are turning Disney+ into the ultimate streaming destination,” Iger declared.
With the recent additions of Hulu and ESPN tiles on Disney+, the company has created what Iger calls a “seamless streaming experience” that is “both convenient and user-friendly.” And when ESPN’s new direct-to-consumer offering launches in early autumn, subscribers can access the full suite of ESPN’s networks from inside Disney+. How thoughtful.
Turning to Disney’s Experiences segment, Iger was practically bursting with excitement. “Last year we talked about our plans to turbocharge growth in this segment through strategic investments. Today I’m proud to share some of what we’ve been up to,” he gushed. “Right now, we have more projects underway around the world than at any time in our history.”
The Magic Kingdom is undergoing its largest expansion ever, including a new area inspired by Cars and a much-anticipated Villains-themed land where guests can presumably pay $15 for a villain-themed ice cream while queuing for three hours.
A Monsters Inc. themed land is coming to Hollywood Studios, featuring the company’s first-ever vertical lift coaster (guaranteed to make your wallet feel lighter than your stomach). Meanwhile, a new Tropical Americas land is headed to Disney’s Animal Kingdom, with attractions based on Encanto and Indiana Jones.
Disney Cruise Line is also expanding, which will allow the company to “double our capacity to reach millions more people around the world,” according to Iger. Because nothing says “magical experience” like being trapped on a boat with thousands of screaming children wearing Mickey ears.
Iger also took time to highlight Disney’s charitable efforts, noting that in the wake of the devastating wildfires in Southern California, the company committed $15 million to recovery efforts.
“We remain the No. 1 wish-granter in the world for children facing critical illness, and on average Disney grants a child’s wish every hour of every day,” he said, temporarily making even the most cynical shareholders feel warm and fuzzy.
Iger concluded his remarks by returning to technology: “Thanks to modern technology, there’s never been a better time to be a storyteller,” he said.
Or, indeed, a Disney shareholder.
UK: The aerial is losing its grip. As broadband becomes the default way Britons watch television, the UK is edging towards a decisive, and divisive, question: should Freeview be switched off by 2034? The issue, highlighted in reporting by The Guardian, has exposed deep fault lines over access, affordability and the future of public service broadcasting.
For nearly 25 years, Freeview has delivered free-to-air television from the BBC, ITV, Channel 4 and Channel 5 to almost every corner of the country. Even now, it remains the UK’s largest TV platform, used in more than 16m homes and on around 10m main household sets. Yet the same broadcasters that built it are now pressing for its closure within eight years.
Their case rests on a structural shift in viewing. Smart TVs, superfast broadband and the Netflix-led streaming boom have pulled audiences online. Advertising economics have followed. By 2034, the number of homes using Freeview as their main TV set is forecast to fall from a peak of almost 12m in 2012 to fewer than 2m, making digital terrestrial television, or DTT, increasingly costly to sustain.
But critics say the rush to switch off risks abandoning those least able, or least willing, to move online.
“I don’t want to be choosing apps and making new accounts,” says Lynette, 80, from Kent. “It is time-consuming and irritating trying to work out where I want to be, to remember the sequence of clicks, with hieroglyphics instead of words. If I make a mistake I have to start again.”
Lynette is among nearly 100,000 people who have signed a “save Freeview” petition launched by campaign group Silver Voices. She fears the government is about to “take [Freeview] away from me and others who either don’t like, can’t afford, or can’t use online versions”.
Official figures underline the fault lines. A report commissioned by the Department for Culture, Media and Sport estimates that by 2035, 1.8m homes will still depend on Freeview. Ofcom’s analysis shows those households are more likely to be disabled, older, living alone, female, and based in the north of England, Wales, Scotland and Northern Ireland.
Freeview is owned by the public service broadcasters through Everyone TV, which also operates Freesat and the newer streaming platform Freely. After two years of review, DCMS is expected to set out its position soon, drawing on three options proposed by Ofcom: a costly upgrade of Freeview’s ageing technology; maintaining a bare-bones service with only core PSB channels; or a full switch-off during the 2030s.
The broadcasters have rallied behind the third option. They argue that 2034 is the logical cut-off, when transmission contracts with network operator Arqiva expire. By then, they say, the cost of broadcasting to a dwindling audience will far outweigh the returns from TV advertising.
Ofcom agrees a crunch point is approaching. In July, the regulator warned of a “tipping point” within the next few years, after which it will no longer be commercially viable for broadcasters to carry the costs of DTT.
Others see risks beyond economics. Questions remain over whether internet TV can reliably deliver emergency broadcasts, such as the daily Covid updates, in the way that universally available DTT can. The UK radio industry has also warned that an internet-only future for TV could push up distribution costs and force some radio stations off air if PSBs no longer share Arqiva’s mast network.
“It is a political hot potato,” says Dennis Reed, founder of Silver Voices, who says he has “dissociated” his organisation from the government’s stakeholder forum, which he believes is “heavily biased” towards streaming.
The Future TV Taskforce, representing the PSBs, counters that moving online could “close the digital divide once and for all”. “We want to be able to plan to ensure that no one is left behind,” a spokesperson says, adding that rising DTT costs could otherwise mean cuts to programme budgets.
The numbers show the scale of the challenge. Of the 1.8m Freeview-dependent homes projected for 2035, around 1.1m are expected to have broadband but not use it for TV. The remaining 700,000 are forecast to lack a broadband connection altogether.
Veterans of the analogue switch-off, completed in 2012 after 76 years, recall similar fears of “TV blackout chaos”. Around 6 per cent of households were labelled “digital refuseniks”, yet a targeted help scheme and a national campaign, fronted by a robot called Digit Al voiced by Matt Lucas, delivered a largely smooth transition.
This time, the BBC is less keen to foot the bill. Tim Davie, the outgoing director general, has said the corporation should not fund a comparable support programme for a Freeview switch-off.
Research for Sky by Oliver & Ohlbaum suggests that with early awareness campaigns and digital inclusion measures, only about 330,000 households would ultimately need hands-on help ahead of a 2034 shutdown.
Meanwhile, viewing habits continue to fragment. Audience body Barb says 7 per cent of UK households no longer own a TV set, choosing to watch on other devices. In December, YouTube overtook the BBC’s combined channels in total UK viewing across TVs, smartphones and tablets, albeit measured at a minimum of three minutes.
That shift may accelerate. YouTube has recently blocked Barb and its partner Kantar from accessing viewing session data, limiting transparency just as online platforms consolidate power.
“When the government chose British Satellite Broadcasting as the ‘winner’ in satellite TV it was Rupert Murdoch’s Sky instead that came out on top,” says a senior TV executive quoted by The Guardian. “There already is such an outsider ready to be the winner in the transition to internet TV; it is YouTube.”
Freeview’s future now hangs on a familiar British dilemma: modernise fast and risk exclusion, or protect universality and pay the price. Either way, the aerial’s days as king of the living room look numbered.
