Film Production
Disney’s profit fairytale hits new heights with magic in the margins
MUMBAI: When it comes to endings, Disney’s latest financial chapter could give its own films a run for their money. The entertainment powerhouse closed its fiscal year on 27 September 2025 with a blockbuster performance reporting a net income of 13.43 billion dollars, more than doubling last year’s 5.77 billion dollars.
Its reported diluted earnings per share (EPS) stood at 6.85 dollars, up sharply from 2.72 dollars in 2024. Even after excluding one-off items like restructuring costs and amortisation, adjusted EPS hit 5.93 dollars, reflecting a 19 per cent jump, the sort of growth even Wall Street’s fairy godmothers would cheer.
Disney’s cash registers jingled too, with free cash flow surging to 10.08 billion dollars, up from 8.56 billion dollars last year. The company generated a hefty 18.1 billion dollars in operating cash, despite ramping up investments in its parks, resorts, and other properties to 8.02 billion dollars, a testament to its ability to balance magic with money.
Behind the sparkle was strong performance across Disney’s entertainment empire from streaming platforms under its Direct-to-Consumer (DTC) banner to its traditional media and theme park segments. The company highlighted that its Entertainment DTC SVOD (subscription video-on-demand) services, once a drag on profits, are now edging closer to sustained profitability.
Not everything was enchanted, though. Disney absorbed 819 million dollars in restructuring and impairment charges, alongside 1.58 billion dollars in amortisation expenses linked to its 21st Century Fox (TFCF) and Hulu acquisitions. Yet these were more than offset by a 3.28 billion dollars non-cash tax benefit following Hulu’s change in US tax classification and another 1.02 billion dollars benefit from the resolution of past tax matters.
The fourth quarter also had its share of plot twists. For the three months ended 27 September 2025, reported EPS rose to 0.73 dollars from 0.25 dollars a year earlier, while adjusted EPS clocked 1.11 dollars, holding steady with the previous year’s 1.14 dollars.
Disney noted 635 million dollars in impairment charges related to its stakes in A+E Networks and Tata Play, alongside 109 million dollars in content write-downs and 143 million dollars in costs tied to the Star India transaction. A partial tax benefit of 68 million dollars from that same deal helped soften the blow.
Over a three-year horizon, Disney’s reported EPS has delivered a 57.6 per cent compound annual growth rate (CAGR), while adjusted EPS has grown 18.9 per cent proof that the House of Mouse has turned its comeback arc into a financial fairy tale.
From streaming triumphs to theme park turnarounds, Disney seems to have found the right mix of fantasy and fiscal discipline. For a company built on stories, its latest results show that the most magical one yet might just be unfolding on its balance sheet.
Film Production
Priyanka Kaur Dhillon joins SVF Entertainment as lead for music distribution
A seasoned content dealmaker with 16 years in digital and satellite media joins the Bengali entertainment powerhouse as it pushes into the pan-India music market
Mumbai: Priyanka Kaur Dhillon has made her move. The content acquisitions and commercials veteran, most recently commercial manager at Sony Pictures Networks India, has joined SVF Entertainment as lead for music distribution, stepping into one of the more interesting briefs in regional entertainment right now.
SVF is no ordinary regional label. Over 30 years it has built a formidable legacy in Bengali cinema and music, driven by culturally resonant storytelling and a catalogue that consistently punches above its weight. Its recent success with Chiraiya underlines the point. But the Kolkata-based powerhouse now has its sights firmly set beyond Bengal, most visibly through Legacy, a rap reality series produced in collaboration with hip-hop label Kalamkaar that signals a deliberate push into the pan-India music ecosystem.
Dhillon brings precisely the kind of muscle SVF needs for that expansion. At Sony Pictures Networks India, she led film acquisition and commercials and handled music licensing across the entire satellite network. Before that, she spent nearly 15 years at Hungama, rising to assistant general manager and leading strategic content licensing for the platform’s digital entertainment business, with a particular focus on international markets. Her label relationships span the full roster: Sony Music, Universal Music, Warner Music, Believe International, Tunecore, The Orchard and a clutch of smaller aggregators. She has negotiated and closed deals with Hollywood studios, Bollywood production houses and regional content players alike, building pricing models and deal structures off data analysis rather than instinct.
Announcing the appointment, Dhillon said she was “thrilled to begin this journey with an iconic Bengali music label and content powerhouse,” adding that SVF’s “constant drive to push boundaries” was what drew her to the role.
SVF has spent three decades proving that regional does not mean limited. With a sharp commercial operator now steering its music distribution, its bid to go national just got a good deal more serious.
