Star Wars: Starfighter is getting ready to hit the ground running.
Filmmaker Shawn Levy took to Instagram on Thursday to celebrate the forthcoming feature having wrapped filming. Ryan Gosling stars in the movie that Disney is set to release theatrically on May 28, 2027.
Levy shared a photo of himself jogging along the set. He added the caption, “That’s a wrap! Headed into #Starfighter post-production like…”
The director previously marked the start of the shoot in September by sharing a photo of Gosling and co-star Flynn Gray posing in costume with the Mediterranean Sea behind them. “Somewhere in the Mediterranean Sea #Starfighter,” Levy captioned that image.
Plot details for Star Wars: Starfighter have not yet been revealed, although the stand-alone movie is set roughly five years after the events of 2019’s Star Wars: The Rise of Skywalker, which was the last title from the franchise to hit theaters. Director Jon Favreau’s The Mandalorian & Grogu is set for theatrical release on May 22, 2026, as a spinoff to the Disney+ series The Mandalorian.
“The reality is that this script is just so good. It has such a great story with great and original characters,” Gosling told the audience earlier this year at Star Wars Celebration in Tokyo. “It’s filled with so much heart and adventure, and there just really is not a more perfect filmmaker for this particular story than Shawn.”
Jonathan Tropper wrote the script for the movie that Levy has been developing since 2022. Levy and Kathleen Kennedy serve as producers.
Levy’s recent directorial credits include Disney’s massive hit Deadpool & Wolverine and Netflix’s The Adam Project.
The studio is developing Gaston, a feature based on the story’s villain character, The Hollywood Reporter has confirmed. Plot details have not yet been disclosed for the movie that is still in early stages.
Dave Callaham penned the latest draft for the live-action filmafter Kate Herron and Briony Redman worked on a previous one. Michelle Rejwan is set to produce.
Adapted from a French fairy tale, the original Beauty and the Beast was a sensation when it hit theaters in 1991, becoming Disney’s highest-grossing animated title at the time. The story focuses on Belle, a young woman agreeing to live with an arrogant prince who has been transformed into a monster and has a limited time to earn the true love that will break his spell. It won two Oscars from six nominations and holds the distinction as the first animated movie ever nominated for best picture.
Richard White voiced Gaston in the animated film. The studio released Bill Condon’s live-action version of Beauty and the Beast in 2017, with Emma Watson as Belle, Dan Stevens as the Beast, and Luke Evans as Gaston. That movie surpassed $1.26 billion at the global box office.
Disney has recently continued to prioritize live-action remakes of its classic animated properties. This includes a live-action take on Tangled being back in active development after THR reported in April that the film’s progress had been paused in light of Rachel Zegler and Gal Gadot’s live-action Snow White underperforming at the box office. Since then, Disney had a massive hit with the live-action remake of Lilo & Stitch, while Barry Jenkins’ prequel movie Mufasa: The Lion King also had a strong showing when it debuted late last year.
The studio has had success over the years with live-action spinoffs focusing on villains from its animated movies. This includes 2014’s Angelina Jolie-led Maleficent, highlighting the antagonist from Sleeping Beauty, and Emma Stone starring in 2021’s Cruella as the villainous Cruella de Vil from the 101 Dalmatians franchise.
Google seems to be cracking down on the use of Disney characters in AI-generated videos on YouTube after it was hit with a cease and desist letter. According to reports by and , the company removed dozens of videos featuring Deadpool, Moana, Mickey Mouse, Star Wars characters and other Disney IP as of Friday, just days after of “infringing Disney’s copyrights on a massive scale.” The letter, seen by both publications earlier this week, called out Google not just for hosting these videos on YouTube, but also for using copyrighted works to train models including Veo and Nano Banana.
Prior to this, as well as and — both of which it’s suing — over AI-related copyright infringement. But, that doesn’t mean it’s shunning AI-generated content altogether. The company on Friday that will bring Disney characters to Sora and ChatGPT, and bring AI-generated shorts from Sora to Disney+.
What to know about the $1 billion Disney agreement with OpenAI – CBS News
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Disney announced Thursday that it would invest $1 billion in OpenAI and license more than 200 of its animated and illustrated characters to use in Sora’s user-generated content. Jo Ling Kent has more.
It doesn’t take long for Taylor Swift’s Disney+ docuseries “The End of an Era” to get emotional. The first of the series’ six episodes quickly opens a window on something that had stayed publicly unseen until now: just how the pop star reacted behind the scenes to the violence and threat of terrorism that cast a pall on the otherwise joyful experience of the European leg of her Eras Tour in 2024.
The debut episode, which premiered at 3 a.m. ET/midnght PT on Friday morning, gets off to a celebratory start. But it does not waste too much time in getting to a mid-episode segment that documents the tour’s darkest hours. In footage shot at the time, Swift is seen shedding tears and sharing profound anxiety in the wake of two terrifying incidents — a thwarted terrorist plot around her Vienna concerts, and a deadly attack on children attending a dance class in Liverpool.
“I thought that this would be a tour I was very proud of. But this is more than a tour,” she says in Episode 1. “It’s a force to be reckoned with in global culture. So never in my life did I think we would have a terrorist plot.”
The three Vienna concerts slated for August of last year were canceled after Austrian officials arrested two men who had plotted to attack Swift’s fans. As her shows in London went on as scheduled after that, she approached the first of those concerts with far more fear and trepidation than she was about to let on, the episode shows.
“Basically it’s a weird feeling going into these last five shows in Europe because … we’ve done 128 shows so far,” she says in the 2024 footage, “but this is the first one where I feel like I’m skating on thin ice or something. We just had this series of very violent, scary things happen to the tour. We dodged a massacre situation. There was this horrible attack in Liverpool at a Taylor Swift-themed dance party. And it was little kids that, uh…” At this, she trails off, unable to complete the sentence and say that three children died after being assaulted by a knife-wielding attacker.
A messae on screen says that Swift met with survivors of the Liverpool attack before each of the concerts in London. No footage of those meetings is included, but the cameras do catch Swift saying she will stop crying and become stoic in time to meet the families.
“It’s gonna be fine, because when I meet them, I’m not gonna do this. I swear to God, I’m not gonna do this,” she vows. “I’m gonna be smiling.”
Which is an attitude she took into doing the concerts themselves. “Any of this gets out of the way before you ever go upstage. You lock it off for three and a half hours. They don’t have to worry about you. It’s like you’re a pilot flying the plane. And if you were like, ‘Ooh, there’s turbulence up ahead; I don’t know if we’re actually gonna land in Dallas; I’m gonna try hard, but I don’t know if I can actually figure out how to land through this turbulence,’ everyone on the plane’s gonna freak out.” She knows how to navigate a crowd through the friendly skies. “You just have to have a calm, cool, collected tone of, ‘We will be landing in in Dallas at 6:05 p.m. Got a little tubulence up ahead, but it’s nothing we haven’t seen before. Just keep your seat belts fastened and welcome to the Eras Tour.”
Swift is seen in the episode getting some help through the buddy system, as Ed Sheeran lifts her spirits and confidence when he arrives to practice a version of their duet “Everything Has Changed,” performed on the first night in London.
“It’s very cool that he would come and do this,” she says, “because I think it’s just gonna really delight people, in a moment when a lot of the fans need a pick-me-up, because I know I do.”
Swift also gets a pep talk from her mother, Andrea Swift, after admitting that she is “twitchy and fidgety” and her hands are shaky going into the first London gig. After getting through it, she is exultant and, as she puts it, ready to stay back on the horse.
By the end of Episode 1, she is back to being focused on the “euphoria” she sees in her crowds — and the intra-audience visual communication she witnesses from the stage. “There’s so many hundreds of moments of individual eye contact throughout the course of the show. I see the mass quantities of joy that everyone’s feeling. What’s interesting is, there’s some joy in the show, but there’s a lot of emotions in this that aren’t just like ‘Put on your smiley face and come to the Eras Tour.’ It is so much more. You look out in the crowd and these are millions of stories and all these counter-narratives, all colliding in one place where we feel safe to be demonstrative about a whole spectrum of emotion. That stuff is really powerful.
“Life contains multitudes and we are kind of exploring all of the dramatic edges of those things” in the concerts, she believes. “That’s what might be unlocking feelings of joy… feelings of euphoria… and it still gets me. It does.”
The second episode, which is also premiering Friday morning, focuses on more consistently upbeat subject matter, like the creation and execution of the tour’s original choreography and especially a “Tortured Poets Department” segment that was added after that surprise album came out in the spring of 2024.
Episode 2 also spends much more time apart from Swift herself to meet with some of the celebrated members of her Eras Tour team, including choreographer Mandy Moore and fan-beloved dancer Kameron Saunders. (Look for Variety’s coming review of the first two episodes.)
Swift premiered these episodes at a morning screening in New York City Tuesday morning, attended by her family and dancers and a handful of members of the media.
“It was a year ago yesterday that we played the last show of the Eras Tour,” Swift said in briefly introducing Tuesday’s screening. “It feels insane. I know it does for me… It feels like the Eras Tour was a lifetime within my life, so it’s so crazy to square it with it ending a year ago. And with that said, you know, I think since I started performing when I was 14 years old, I have been obsessed with the idea of trying to learn how to entertain people… All the lessons that I learned over 20-plus years are what it ended up being… And I know that’s the case with not just me, but the dancers and the band and the backing vocalists and our lighting and technical departments and our choreography; everything that went into this was all the lessons we’ve learned all of our lives.”
She continued, “And I think one thing that our amazing directors, Don Argott and Sheena Joyce, who are here did was that they told and expanded upon the stories of not just me, but everyone who was a part of this and their stories and what it took to get them to the place where they’ve learned the lessons that it took to get them on that stage to execute this as well as they did.
“But there’s a lot of magic and mystery and destiny and all that stuff,” Swift added. “We can’t explain what happens when something goes as well as this did, but anything that we can explain to you about how we did it, these amazing directors did that. And so I’m so grateful that they put so much time and thought and care into this docuseries.”
After Tuesday’s screening of the two episodes concluded, Swift quickly stepped out in the screening room and began making some closing remarks, before being reminded that she was speaking off-mic and not audible to everyone scattered throughout the large screening room at Disney. “I’ve been off tour for a year and I forgot about what microphones do,” she quipped.
The six episodes of “The End of an Era” are being released two at a time in one-week intervals. Episodes 3 and 4, which have not screened, will come out on Disney+ Dec. 19, and the final two will debut Dec. 26.
“It feels like the Eras Tour was a lifetime within my life,” Taylor Swift said earlier this week at an intimate New York City screening of the first two episodes of The End of an Era, the six-part docuseries pulling back the curtain on her record-breaking Eras Tour. Those episodes, as well as Taylor Swift | The Eras Tour: The Final Show, a concert film capturing the entirety of her final bow of the 149-show tour, hit Disney+ on Friday, a day before Swift’s 36th birthday.
The tour was long—about a year and a half, all told—and its goodbye, ongoing even now, a year later, is long too. It’s fitting, though, as there’s a lot to process: While on the road, she released two Taylor’s Version re-recording projects (Red and 1989), launched a super-sized studio album (The Tortured Poets Department), began dating Travis Kelce (now her fiancé), attended two Super Bowls, and wrote and recorded another studio album (The Life of a Showgirl). And those are just the highlights.
Taking the microphone, Swift spoke after the rambunctious cheering of the crowd—made up of her entire backing band and vocalists, the Eras Tour dancers, tour production staff, her dad Scott Swift, mom Andrea Swift, and brother Austin Swift, not to mention various Disney personnel and a few members of the media—faded, thanking all who were involved in the tour and production of the series.
“It was a year ago yesterday that we played the last show of the Eras Tour. It feels insane. I know it does for me,” she said, before describing a career-long fixation with not just entertaining people, but providing an escape for audiences, where everything is not perfect, but all feelings are allowed. There’s room for the joy and community that fans have gushed over finding at her concerts, right alongside space to express grief with songs like “Marjorie,” rage (“The Smallest Man Who Ever Lived”), exasperation (“We Are Never Getting Back Together”), resilience (“I Can Do It With a Broken Heart”), giddy youthfulness (“22”), and more points along the emotional spectrum that colors everyday life.
“Everything that went into this was all the lessons we’ve learned all of our lives,” she said, crediting her dancers, band, technical staff, and all involved with pouring their own life experiences into making the tour an immersive experience, before acknowledging the docuseries’ directors, Don Argott and Sheena Joyce, also in attendance, for their work preserving the period to share with the world.
(CNN) — Disney is taking a $1 billion equity stake in OpenAI, while also striking a deal that would allow its famous characters be used on Sora, the AI company’s video generation platform.
Disney’s investment in OpenAI is the first such major licensing agreement for Sora.
Under the agreement, users of OpenAI’s shortform video-generating social media network Sora will be allowed to make videos using more than 200 Disney animated characters. Those characters including Mickey and Minnie Mouse, Disney Princesses like Ariel, Belle, and Cinderella, characters from Frozen, Moana, and Toy Story. Animated characters from Marvel and Lucasfilm, including Black Panther and Star Wars characters like Yoda are included as well – although the agreement does not include any talent likenesses or voices.
Users of OpenAI’s popular chatbot ChatGPT will also be able to ask the bot to create images using the Disney characters.
“The rapid advancement of artificial intelligence marks an important moment for our industry, and through this collaboration with OpenAI we will thoughtfully and responsibly extend the reach of our storytelling through generative AI, while respecting and protecting creators and their works,” Disney CEO Robert A. Iger, CEO said as part of a statement.
OpenAI, which has come under scrutiny for copyright violations – and also for striking massive ‘circular’ deals leading to fears of an AI bubble – said the deal shows how the creative community and AI can get along.
“Disney is the global gold standard for storytelling, and we’re excited to partner to allow Sora and ChatGPT Images to expand the way people create and experience great content,” said Sam Altman, co-founder and CEO of OpenAI. “This agreement shows how AI companies and creative leaders can work together responsibly to promote innovation that benefits society, respect the importance of creativity, and help works reach vast new audiences.”
Shortly after the announcement, Iger and Altman both sat down with CNBC’s David Faber, during which the Disney boss stressed that the deal “does not, in any way, represent a threat to the creators.”
“In fact, the opposite, I think it honors them and respects them, in part because there’s a license fee associated with it,” Iger said, later adding that the goal is to “continue to honor, respect, value the creative community in general.”
Iger also stressed that the deal allows Disney to “be comfortable that OpenAI is putting guardrails essentially around how these are used,” adding that, “really, there’s nothing for us to be concerned about from a consumer perspective.” Altman, too, stressed the presence of guardrails, telling Faber that “it’s very important that we enable Disney to set and evolve those guardrails over time, but they will, of course, be in there.”
The deal is exclusive, per Iger, at least in part. The Disney CEO hinted that “there is exclusivity, basically, at the beginning of the three-year agreement,” but remained mum on what that means. Asked if OpenAI is pursuing similar deals with other companies, Altman said, “I won’t rule out anything in the future, but we think this alone is going to be a wonderful start.”
Disney has previously sued AI companies for using their intellectual property. On Monday, the company sent Google a cease and desist letter, according to a source familiar with the situation.
The cease and desist letter claims the company’s AI products, including its image and video generating products Veo and Nano Banana, are infringing Disney’s copyrights “on a massive scale,” by allowing users to create images and videos depicting their characters. The letter alleges that Google has “refused to implement any technological measures to mitigate or prevent copyright infringement.”
In response, a Google spokesperson said they have “a longstanding and mutually beneficial relationship with Disney, and will continue to engage with them.”
More generally, we use public data from the open web to build our AI and have built additional innovative copyright controls like Google-extended and Content ID for YouTube, which give sites and copyright holders control over their content.”
Disney had already sent similar cease and desist letters to Meta and Character.AI. In June, Disney and Universal sued AI photo generation company Midjourney, alleging the company violated copyright law.
This story has been updated with additional developments and context.
Walt Disney Co. is investing $1 billion in OpenAI under a new commercial partnership with the ChatGPT and Sora developer.
The three-year licensing agreement will allow users of Sora, OpenAI’s artificial intelligence video tool, to create AI videos using more than 200 characters from Disney, Marvel, Pixar and Star Wars, the entertainment giant announced Thursday.
Disney is the first major company to strike a licensing deal with OpenAI on Sora, which uses generative artificial intelligence to create short videos.
“Through this collaboration with OpenAI we will thoughtfully and responsibly extend the reach of our storytelling through generative AI, while respecting and protecting creators and their works,” Disney CEO Robert Iger said in a statement.
As part of the deal, Disney said it will deploy ChatGPT for its employees and use OpenAI tech to develop new products. Some user-generated Sora videos will also be made available on the Disney+ streaming service.
The agreement does not include any talent likenesses or voices, Disney said.
AI video generators like Sora have impressed users with their ability to quickly create realistic clips based on simple text prompts. At the same time, concerns over misinformation, deepfakes and copyright have swelled. In the aftermath of the Sora 2 release, clips of copyrighted characters, as well as prominent figures like Martin Luther King Jr., started cropping up on the platform.
Disney did not immediately respond to a request for comment. OpenAI directed CBS News to the press release issued Thursday.
The Walt Disney Company announced on Thursday that it has signed a three-year partnership with OpenAI that will bring its iconic characters to the company’s Sora AI video generator. Disney is also making a $1 billion equity investment in OpenAI.
Launched in September, Sora allows users to create short videos using simple prompts. With this new agreement, users will be able to draw on more than 200 animated, masked, and creature characters from Disney, Marvel, Pixar, and Star Wars, including costumes, props, vehicles, and more.
These characters include iconic faces like Mickey Mouse, Ariel, Belle, Cinderella, Baymax, Simba, as well as characters from Encanto, Frozen, Inside Out, Moana, Monsters Inc., Toy Story, Up, and Zootopia. Users will also be able to draw on animated or illustrated versions of Marvel and Lucasfilm characters like Black Panther, Captain America, Deadpool, Groot, Iron Man, Darth Vader, Han Solo, Stormtroopers, and more.
Users will also be able to draw on these characters while using ChatGPT Images, the feature in ChatGPT that allows users to create visuals using text prompts.
The agreement does not include any talent likenesses or voices, Disney says.
“The rapid advancement of artificial intelligence marks an important moment for our industry, and through this collaboration with OpenAI we will thoughtfully and responsibly extend the reach of our storytelling through generative AI, while respecting and protecting creators and their works,” said Disney CEO Bob Iger in a statement.
Disney says that alongside the agreement, it will “become a major customer of OpenAI,” as it will use its APIs to build new products, tools, and experiences, including for Disney+.
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“Disney is the global gold standard for storytelling, and we’re excited to partner to allow Sora and ChatGPT Images to expand the way people create and experience great content,” said Sam Altman, co-founder and CEO of OpenAI, in a statement. “This agreement shows how AI companies and creative leaders can work together responsibly to promote innovation that benefits society, respect the importance of creativity, and help works reach vast new audiences.”
When Bob Iger eagerly told investors that slop was on the menu at the House of Mouse last month, the Disney CEO mentioned that the studio was in talks with a major generative AI company to power its reckless new era. It’s no longer talks: Disney’s disastrous turn into the AI bubble is here.
This morning the studio announced it had agreed to a major deal with OpenAI that will see over 200 Disney characters—including ones from Pixar and Marvel properties, as well as Star Wars—allowed to be used on its Sora video platform and in imagery generated by ChatGPT, making Disney the first major brand to license its content with the AI company.
The three-year licensing deal, which remains subject to negotiation agreements and approval from both Disney and OpenAI’s executive boards, does not cover the likenesses of actors or any voice rights. As part of the agreement, Disney will also become a “major customer” of OpenAI, integrating ChatGPT into its workflow as well as using the company’s APIs to develop new products, tools, and experiences.
“Technological innovation has continually shaped the evolution of entertainment, bringing with it new ways to create and share great stories with the world,” Iger said in a statement shared by OpenAI this morning. “The rapid advancement of artificial intelligence marks an important moment for our industry, and through this collaboration with OpenAI we will thoughtfully and responsibly extend the reach of our storytelling through generative AI, while respecting and protecting creators and their works.
“Bringing together Disney’s iconic stories and characters with OpenAI’s groundbreaking technology puts imagination and creativity directly into the hands of Disney fans in ways we’ve never seen before, giving them richer and more personal ways to connect with the Disney characters and stories they love,” the Disney CEO concluded.
The news comes after Disney has spent the past few years joining several high-profile lawsuits alongside other Hollywood studios to aggressively pursue generative AI platforms from the likes of Midjourney and MiniMax, that allowed users to generate imagery of its characters in breach of Disney’s intellectual copyrights. Indeed, this morning Variety reported that Disney lawyers sent a cease and desist letter to Google this week, accusing the company of “infringing Disney’s copyrights on a massive scale” by allowing its properties to be generated and distributed through its AI platforms.
But even while doing so publicly, the studio has been internally experimenting with implementing generative AI into its movies for a while—only to have those efforts dashed by concerns with both legal ramifications and potential public backlash.
Over the summer, the Wall Street Journal reported on two separate instances related to the production of the live-action Moana remake and Tron: Ares where Disney floated the use of generative AI. In the former case, it would’ve been reportedly used to mask over the use of Dwayne Johnson’s cousin, Tanoai Reed, to act as a stand-in for the performer on days he was unavailable. In the latter, Disney allegedly experimented with integrating a character powered by generative AI into Tron‘s grid of programs—named “Bit,” and envisioned as a potential companion for Jeff Bridges’ Kevin Flynn.
In neither case did the plans come to fruition, with Disney wrapped up in legal concerns over ultimate copyright involving the use of AI, as well as fears that news of its use would engender further public enmity with the studio—a fear that reached a fever pitch months after the report when Disney rode a wave of boycott calls and widespread criticism over its decision to temporarily suspend late-night host Jimmy Kimmel over comments he made on-air in the wake of the assassination of the right-wing commentator Charlie Kirk, seen as the latest in a long line of attempted capitulations made by the movie studio to the Trump administration.
With its deal with OpenAI in place, those copyright concerns are seemingly no longer an issue for the studio. It remains to be seen if public backlash will be.
It looks like Disney wasted no time delivering on CEO Bob Iger’s promise to bring AI-generated content to Disney+. On Thursday, the company announced the start of a three-year licensing agreement with OpenAI to bring more than 200 of its beloved characters, including those from Star Wars and Pixar, to the Sora app and ChatGPT. With the deal in place, OpenAI users will be able to prompt ChatGPT to generate images that tap into Disney’s intellectual property, with costumes, props, vehicles and environments covered.
The agreement does not cover voices or “talent likenesses.” On paper, that should mean Sora users won’t be able prompt the app to make a video with Black Widow and get something with Scarlett Johansson likeness in it.
Last week, Lucasfilm shocked the world with the announcement that its plans to celebrate the 50th anniversary of Star Wars with a theatrical re-release would mark the first official re-release of the original theatrical cut of A New Hope for the first time in decades. But the legacy of tweaks George Lucas has made to Star Wars is as long as Star Wars‘ existence itself… and what “original” actually means has been changing, from a certain point of view, from the very beginning.
No one, least of all Lucas, could have predicted the way Star Wars would change pop culture as we knew it when it first released in 1977. The movie that made it to theaters was one of a thousand compromises, with things tweaked and cut and given up on as Lucas strove to realize his ambitious ideas on screen. The moment Star Wars hit theaters, the director was not done pushing what he could change, emboldened by its immediate success—establishing a long history of his revisits to the movie that changed his career forever. Here’s a timeline of the changes made, from 1977 to the film’s latest version streaming on Disney+.
1977
After Star Wars‘ release in May of 1977, multiple changes were made between its initial launch and the film’s wider theatrical run later in the year: four visual errors in the film were corrected, including new laser effects and explosions during the Millennium Falcon‘s escape from Mos Eisley, a recomposition of the matte painting used to depict the exterior of the Massassi temple on Yavin IV, and changes to the cloudscape in the shot of the Rebel fighters leaving the base to assault the Death Star. The last change made didn’t affect the film itself, but its closing credits sequence, which was completely redone with new formatting and spacing.
Lucas also made multiple dialogue and audio changes between the 35mm Dolby Stereo and 70mm 6-track audio versions of the films, and the mono mix created in the summer of 1977. The changes were minor compared to audio tweaks to come over the next 50 years, largely adjusting the timing of certain lines of dialogue and effects, rather than radically changing anything outright, although some voiceover lines were altered for characters like Stormtroopers and C-3PO. Perhaps the most identifiable differences include a complete re-recording of Shelagh Fraser’s lines as Aunt Beru, done out of a belief by Lucas that her original takes sounded too British, and a correction so that Luke accurately says, “Blast it, Wedge, where are you?” during the Death Star assault, rather than cursing Biggs (that will become important later!).
1981
The first significant change to Star Wars is when it officially becomes A New Hope. Re-released in theaters after the launch of Empire Strikes Back a year prior, Star Wars‘ opening crawl was updated to include the subtitled “Episode IV: A New Hope” to match Empire‘s own use of the episodic titling. There were several other updates to the opening crawl beyond this most obvious one: a new starfield background was used, to match Empire‘s, as was the Star Wars title card, and a minor alteration in the crawl to capitalize “Rebel” in its second paragraph.
Those were not the only tweaks for the re-release, though: the opening shots of the Tantive IV‘s pursuit were recomposited to remove some visible bordering, as were slight changes to some effects like engine glow and the positioning of planets in the background of the chase.
1982-1993
A New Hope‘s first home releases also included some minor changes. The initial VHS, Betamax, and CED releases of the film used the 35mm Dolby Stereo audio track, removing a C-3PO line added in the mono mix when R2-D2 displays the Death Star’s internal layouts, where the protocol droid explains that shutting down one of the station’s tractor beam generators would free the Millennium Falcon. The limitations of CED and Laserdisc as a format meant those initial releases in particular also had a peculiar change: the film was sped up to fit on a singular disc, cutting its run time from 121 minutes to under two hours.
The laserdisc releases of A New Hope utilized a newly remastered audio track, but there were further changes in various iterations for the laserdisc release of the film over the remainder of the 1980s and early 1990s. The 1988 widescreen laserdisc release of A New Hope in America was based on the master used for a Japanese release from 1986, which had been adjusted to account for Japanese language subtitling. Attempting to correct the changes ultimately created an issue where the viewable section of the screen shrunk over the course of the film, but this was corrected in a 1992 re-release.
A 1993 laserdisc release of the entire trilogy, dubbed The Definitive Collection, used yet another newly supervised audio mix for A New Hope, this time incorporating elements from all three original Dolby Stereo, 6-track, and mono mixes, including the latter’s dialogue changes. These same editions of the film were rereleased on laserdisc and VHS in 1995, marking the last time the “original” versions of all three films would be available in a widely accessible format for another decade.
We’ve reached the big one: the release of the Star Wars special editions. Beyond remastering and restoration of all three films for fidelity’s sake, A New Hope, Empire Strikes Back, and Return of the Jedi all received a swath of cosmetic updates to their visual effects, incorporating new, reworked, and extended shots that utilized CGI (including some that incorporated tie-in elements from other parts of the since-established Expanded Universe tie-in media, such as the presence of swoop bikes and Dash Rendar’s Outrider in Mos Eisley from Shadows of the Empire).
But perhaps more infamously, each film also received some narrative tweaks and additions, many of which are still debated to this day. We’ll stick to A New Hope, as that’s what we’re focusing on here: two significant added scenes include Han Solo’s encounter with Jabba in Mos Eisley, now featuring a CG recreation of the character’s appearance from Return of the Jedi (deleted scenes from the original film that this footage was taken from portrayed Jabba as a human, leading to an awkward addition here where Han “accidentally” steps on Jabba’s tail while walking behind him) as well as a brief appearance by Boba Fett in the background, and a scene added to the Yavin IV base where Luke and Biggs reunite with each other, giving the latter’s death during the Death Star assault more dramatic weight. The Special Edition cut also restores the “Blast it, Biggs” line change initially corrected in the mono mix of the film, presumably to further display Luke and Biggs’ bond.
Then there is, of course, the most debated tweak of all: the Special Edition adds an initial shot fired by Greedo during his cantina encounter with Han, moments before Han pulls the trigger on his own blaster to kill the bounty hunter, to create an impression that Han acted in self-defense rather than pragmatism. We’re not going to get into it, but we will revisit it over the course of the rest of this timeline, because people will spend years getting angry about it.
2004
The original trilogy’s first DVD releases, based on the Special Editions, incorporated further changes beyond remastering for the format, altering some of the additions from the 1997 releases while also providing some connective elements to the prequel trilogy, in full swing at the time of the release.
In the case of A New Hope, many of the changes are broadly audio-based, tweaking the effects on certain lines of dialogue or incorporating new sounds at certain moments—perhaps most significantly in terms of audio was a total rework of the voice filter used on Darth Vader, to better align A New Hope with the rest of the original trilogy—as well as corrections on color grading errors introduced in some sequences, like a pinkish hue over the scenes depicting Luke and Obi-Wan’s arrival in Mos Eisley. A newly updated CG model of Jabba to replace the one used in the Special Edition’s additions was also included, and for the first time, English language signage seen throughout the film was replaced with Aurebesh typography, marking a radical overhaul of the history of the written word in Star Wars.
Then, of course, Tatooine is also the home of another change: the Han and Greedo encounter is altered yet again so that the two fire almost simultaneously (although Greedo is still, by the blink of an eye, the first to pull the trigger). No one continues to be satisfied by this.
2006
The 2004 DVD cuts of the original trilogy were re-released for a limited time two years later, with one significant addition. As well as newly remastered versions of the 2004 editions, each release came with a bonus disc containing the so-called original versions of the films, available for the first time in a home format since 1995.
In actuality, these versions weren’t quite the originals. Although A New Hope reinstated the original, pre-1981 opening crawl from a remaining print, the rest of the audio and visual presentation was derived from the versions made for the 1993 laserdisc transfers of the original trilogy released as The Definitive Collection. Until 2027, this will remain the last official release of any version of the pre-Special Edition versions of the film.
The saga’s release on Blu-ray for the first time introduced yet further changes beyond those included in 2004 and 1997. Again, these were broadly audio tweaks rather than anything particularly significant (such as Obi-Wan’s krayt dragon call to scare off the Tusken Raiders, changed again from a tweak made in the 2004 mix—the same scene includes an awkwardly framed piece of rock placed in front of R2-D2 in the small alcove he initially hides from Obi-Wan in).
That doesn’t mean the Han and Greedo scene doesn’t get yet further tweaks, though. A few frames from the moment of blaster fire are shaved off, bringing the timing of the altered scene back closer in line to the original, even as it keeps the near-simultaneous, Greedo-first tweaks introduced in 2004. No one continues to be satisfied by this.
2019
The launch of Disney+ in the United States brought with it yet another alteration of the film, part of a process to restore the film to 4K streaming quality. The streaming version of A New Hope arguably contains some of the slightest alterations to the post-Special Edition version of the film released over the course of the 21st century, broadly adjusting color correction issues on scenes introduced in the 1997, 2004, and 2011 releases.
That does not mean the most-tweaked scene in Star Wars history got off scott free, however. Now Han and Greedo’s encounter climaxes with an awkward cut to Greedo shouting “Ma Klounkee” before he fires. The scene otherwise maintains the pacing of the 2011 iteration, although it also removes a very brief visible shot of the Greedo dummy before it violently explodes. Not only does no one continue to be satisfied by this, they’re mostly comedically confused, birthing a new Star Wars meme in the process.
2027
That brings us back to last weeks news of that the previously announced 50th anniversary screenings of A New Hope will now not just arrive earlier in 2027, but with a version of the “original” film. As with everything we’ve gone through above, what that means with Star Wars certainly remains in flux, and Lucasfilm has yet to provide any kind of details about this release beyond its existence. A statement released by the studio has simply described it as “a newly restored version of the classic Star Wars (1977) theatrical release.”
We’ve got two years before we find out what the galaxy far, far away’s latest definition of “original” is.
The Disney+ and Hulu (with ads) bundle is officially on sale for $5 per month for one year (for a total of $60) through December 1, giving new and returning subscribers a full year of both streaming platforms for less than the cost of a few movie tickets. The bundle includes Disney+ and Hulu’s basic plans with ads, so if you’ve been waiting for a sign to catch up on Only Murders in the Building or dive into the Star Wars universe, this is it.
Disney+ and Hulu make one of the most balanced streaming pairs available, blending family-friendly favorites with acclaimed originals and network TV staples. Disney+ brings a vast library of animated classics, blockbuster franchises and exclusive content from Marvel, Pixar, Star Wars and National Geographic. It’s the place to stream nearly every Star Wars film and series, plus the full Marvel Cinematic Universe lineup and Disney’s most recent theatrical releases.
Disney+
Instead of $13 per month for the ad-supported bundle, you’ll get it for $5 monthly for one year.
For families, it doubles as a reliable destination for animated favorites, from Encanto to Inside Out 2, and its kid-friendly interface makes it simple to hand over the remote without worrying about what’s queued next.
Hulu balances things out with a more adult-oriented lineup of current TV shows, next-day network episodes and a growing roster of award-winning originals. The platform hosts series like The Bear,The Handmaid’s Tale and Only Murders in the Building, alongside comedies, thrillers and documentaries that regularly feature in awards conversations. It’s also the home for next-day streaming of ABC and FX shows, making it especially useful if you’ve already cut the cable cord but still want to keep up with primetime TV.
The Duo Basic bundle ties these two services together under a single subscription, offering a simple way to expand your library without juggling multiple accounts. This tier includes ads on both platforms, but the trade-off is significant savings compared with paying for each service separately. For many households, that’s an acceptable compromise when it means access to such a wide range of content.
Both platforms also integrate smoothly across devices. Disney+ is available on nearly every smart TV and streaming stick and Hulu’s interface is built around customizable profiles, so everyone in the household can keep separate watch lists. The bundle login works seamlessly between the two, and since they’re both owned by Disney, it’s easy to switch from a Marvel marathon to a new episode of The Great or Abbott Elementary without leaving the ecosystem.
If you prefer a more premium experience, you can upgrade to the Duo Premium bundle for ad-free viewing, but the Basic plan remains the best value for most users. It’s an especially practical pick if you’re looking to consolidate your streaming subscriptions without losing access to major franchises or hit series.
If you’re still comparing options or thinking about how to simplify your lineup, our guide to the best streaming services outlines how Disney+, Hulu and others stack up. But for those already invested in Disney’s worlds or Hulu’s critically acclaimed originals, this annual Duo Basic deal offers one of the easiest and most affordable ways to keep it all in one place.
Apple TV+ — 6 months for $36: Apple TV+ is offering six months of access for only $36 for Black Friday, which comes out to a discounted price of $6 per month for the six-month period. The deal is live now for new and eligible returning subscribers and runs through December 1, giving you a chance to stream shows like Silo, The Morning Show and For All Mankind for less. The biggest caveat to the deal is that you must subscribe directly through Apple and not through a third-party service.
HBO Max — one year for $36: HBO Max’s Black Friday deal gives subscribers one year streaming for $36 through December 1. This Black Friday streaming deal is on the ad-supported option, which normally goes for $11 per month. With this discount, you’re getting it for $3 per month for one year. You can sign up via HBO Max’s website or, if you’re a Prime Video subscriber already, via that service as an add-on.
Paramount+ — two months of Essential or Premium for $6: This Black Friday deal brings the monthly price of either Paramount+ tier down to just $6 for two months, or $3 per month. The obvious better deal is on the Premium plan, which typically costs $13 per month.
Sling TV Orange — day pass for only $1: Sling TV launched Day Passes earlier this year, giving users one-day access to a variety of its packages. This deal cuts $4 off the normal price of a day pass for Sling Orange. With that, you get unlimited access for 24 hours to Orange’s more than 30 channels that includes ESPN, CNN, TBS and others.
The Disney+ and Hulu (with ads) bundle is officially on sale for $5 per month for one year (for a total of $60) through December 1, giving new and returning subscribers a full year of both streaming platforms for less than the cost of a few movie tickets. The bundle includes Disney+ and Hulu’s basic plans with ads, so if you’ve been waiting for a sign to catch up on Only Murders in the Building or dive into the Star Wars universe, this is it.
Disney+ and Hulu make one of the most balanced streaming pairs available, blending family-friendly favorites with acclaimed originals and network TV staples. Disney+ brings a vast library of animated classics, blockbuster franchises and exclusive content from Marvel, Pixar, Star Wars and National Geographic. It’s the place to stream nearly every Star Wars film and series, plus the full Marvel Cinematic Universe lineup and Disney’s most recent theatrical releases.
Disney+
Instead of $13 per month for the ad-supported bundle, you’ll get it for $5 monthly for one year.
For families, it doubles as a reliable destination for animated favorites, from Encanto to Inside Out 2, and its kid-friendly interface makes it simple to hand over the remote without worrying about what’s queued next.
Hulu balances things out with a more adult-oriented lineup of current TV shows, next-day network episodes and a growing roster of award-winning originals. The platform hosts series like The Bear,The Handmaid’s Tale and Only Murders in the Building, alongside comedies, thrillers and documentaries that regularly feature in awards conversations. It’s also the home for next-day streaming of ABC and FX shows, making it especially useful if you’ve already cut the cable cord but still want to keep up with primetime TV.
The Duo Basic bundle ties these two services together under a single subscription, offering a simple way to expand your library without juggling multiple accounts. This tier includes ads on both platforms, but the trade-off is significant savings compared with paying for each service separately. For many households, that’s an acceptable compromise when it means access to such a wide range of content.
Both platforms also integrate smoothly across devices. Disney+ is available on nearly every smart TV and streaming stick and Hulu’s interface is built around customizable profiles, so everyone in the household can keep separate watch lists. The bundle login works seamlessly between the two, and since they’re both owned by Disney, it’s easy to switch from a Marvel marathon to a new episode of The Great or Abbott Elementary without leaving the ecosystem.
If you prefer a more premium experience, you can upgrade to the Duo Premium bundle for ad-free viewing, but the Basic plan remains the best value for most users. It’s an especially practical pick if you’re looking to consolidate your streaming subscriptions without losing access to major franchises or hit series.
If you’re still comparing options or thinking about how to simplify your lineup, our guide to the best streaming services outlines how Disney+, Hulu and others stack up. But for those already invested in Disney’s worlds or Hulu’s critically acclaimed originals, this annual Duo Basic deal offers one of the easiest and most affordable ways to keep it all in one place.
Apple TV+ — 6 months for $36: Apple TV+ is offering six months of access for only $36 for Black Friday, which comes out to a discounted price of $6 per month for the six-month period. The deal is live now for new and eligible returning subscribers and runs through December 1, giving you a chance to stream shows like Silo, The Morning Show and For All Mankind for less. The biggest caveat to the deal is that you must subscribe directly through Apple and not through a third-party service.
Paramount+ — two months of Essential or Premium for $6: This Black Friday deal brings the monthly price of either Paramount+ tier down to just $6 for two months, or $3 per month. The obvious better deal is on the Premium plan, which typically costs $13 per month.
HBO Max — one year for $36: HBO Max’s Black Friday deal gives subscribers one year streaming for $36 through December 1. This Black Friday streaming deal is on the ad-supported option, which normally goes for $11 per month. With this discount, you’re getting it for $3 per month for one year. You can sign up via HBO Max’s website or, if you’re a Prime Video subscriber already, via that service as an add-on.
Sling TV Orange — day pass for only $1: Sling TV launched Day Passes earlier this year, giving users one-day access to a variety of its packages. This deal cuts $4 off the normal price of a day pass for Sling Orange. With that, you get unlimited access for 24 hours to Orange’s more than 30 channels that includes ESPN, CNN, TBS and others.
Zootopia 2 reviews are out now, and if early reviews and Rotten Tomatoes scores are any indication, fans of the Disney franchise should be very excited.
What are the Zootopia 2 reviews saying?
Over on Rotten Tomatoes, Zootopia debuted to a magnificent 94% score. While not quite as high as 2016’s Zootopia (which had a 98% score), the score is still extremely high, and yet another Disney animated project that seems to be an incredible movie.
Slant Magazine Derek Smith praised the movie, saying that it “provides plenty of food for thought for its young audience, making a more expansive statement on the dangers of intolerance than the first film, and without sacrificing any of its charm, humor, or visual ingenuity along the way.”
Variety’s Peter Debruge also praised the film, saying “these movies are comedies first and crime-film homages second, but it’s their tertiary value as social commentary that makes the franchise so indispensable: Behind the laughs are teachable moments.”
The Hollywood Reporter’s Frank Scheck also had positive things to say, noting that the sequel “proves more than worth the lengthy wait, knocking it out of the park with its dazzling visuals, sophisticated humor and doses of genuine emotion.”
Newsday’s Rafer Guzman praised the cast of the film, noting “the movie delivers a satisfying combination of laughs, family-friendly thrills and a new, not-so-subtle note of romance.”
ComingSoon’s Jonathan Sim also loved the movie, saying it’s not only “a worthy follow-up, but also a zippy, colorful, and surprisingly introspective buddy-cop adventure that expands the franchise in fur-nomenal new directions.”
“After cracking the biggest case in Zootopia’s history, rookie cops Judy Hopps and Nick Wilde find their partnership isn’t as solid as they thought when Chief Bogo orders them to join the Partners in Crisis counseling program. But it doesn’t take long for their partnership to be put to the ultimate test when they find themselves on the twisting trail of a mystery tied to the arrival of a venomous snake in the animal metropolis,” reads the official synopsis.
Encanto filmmakers Jared Bush and Byron Howard co-directed Zootopia 2, with Bush also writing the screenplay and Yvett Merino producing the movie. The sequel will also feature the return of Shakira as Gazelle, Idris Elba as Chief Bogo, Bonnie Hunt as Bonnie Hopps, Don Lake as Stu Hopps, Nate Torrence as Clawhauser, Jenny Slate as Bellwether, Alan Tudyk as Duke Weaselton, Maurice LaMarche as Mr. Big, Leah Latham as Fru Fru, Josh Dallas as Frantic Pig, Tommy Chong as Yax, and Mark Smith as Officer McHorn.
Zootopia 2 arrives in theaters on November 26, 2025.
Didn’t watch Tron: Ares in theaters last month? Well, count yourself among a lot of people, considering that the film turned out to be one of Disney’s biggest box office flops in a while. But there’s good(?) news: if you were simply waiting long enough to be disinterested in watching the latest (and potentially final, for a very long while) Tron movie at home, the time is nigh.
This morning Disney confirmed that Tron: Ares would begin its home release next week, with a digital release set for the first week of December, followed by a physical release in early January 2026.
As well as the film itself, the home releases will come with a raft of behind-the-scenes bonus content, including featurettes about the history of Tron, developing the film’s lightcycle sequences, and one that is described as a “personal journey with Jared Leto” looking at Ares‘ creation, fitting given that Leto played a hugely significant role in reviving Tron after a planned sequel to Tron: Legacy stalled out at Disney. Whether that was ultimately for better or worse? Still kinda TBD.
Beyond the featurettes, the home releases will include a trio of deleted scenes from the film, including one simply credited as “Lisberger Cameo”—indicating that original Tron writer and director Steven Lisberger was going to make a cameo in the film at some point. Lisberger did make a brief appearance in Tron: Legacy as Shaddix, one of the bartenders at the End of the Line Club, so it’s a shame his continuation of that legacy, for want of a better word, didn’t continue in the theatrical cut of Ares. At least it’ll live on as a deleted scene!
Here’s the full list of bonus features:
Deleted Scenes: – Seth’s Date – Burning Man – Lisberger Cameo
Featurettes: – The Journey To Tron: Ares: Go on a personal journey with Jared Leto, director Joachim Rønning and other cast and crew members for an in-depth making-of look showcasing the stunning visuals, incredible stunts, cool (but heavy) costumes, and next-level sets of Tron: Ares. – Lightcycles On The Loose: Join director Joachim Rønning as he peels back the layers of one of the most action-packed sequences in the film. Discover what ILM and the artists who grew up loving the franchise contributed, and what other iconic film the sequence pays homage to. – The Artistry Of Tron: Ares: Director Joachim Rønning and actor-producer Jared Leto sit down to discuss their journey creating Tron: Ares. The pair unpack key moments and the striking visual, sonic and artistic philosophies that drive the storytelling both in and out of the Grid. – Cast Conversations: Join the cast in candid conversations as they reflect on stepping into character, memorable on-set experiences, funny anecdotes and personal insights. Get a glimpse of the off-screen camaraderie that shines in their electric on-screen synergy. – The Legacy Of Tron: Decades after Tron first took the world by storm, and with Tron: Legacy in between, there’s loads of nostalgia to mine for Tron: Ares. Catch some clever easter eggs and noteworthy cameos as this enduring franchise continues to leave its mark.
Tron: Ares releases digitally on December 2, with a Blu-ray and DVD release set for January 6, 2026.
The Beatles Anthology — The landmark 1995 ABC docuseries gets a modern-day restoration and expansion, with a new chapter that shows … the creation of the original docuseries. How meta! Yes, these guys really want you to remember they’re the ones who wrote “Glass Onion.” (Disney+)
Jingle Bell Heist — An American woman and a British guy fall for each other while plotting the Christmas Eve robbery of a swank London department store. But it’s OK, you see, because they’re only trying to get money to take care of their kids. You know, just like everybody at Dancers Royale is majoring in poli sci at UCF. (Netflix)
Prehistoric Planet: Ice Age — Season 3 profiles creatures like the woolly mammoth, the sabertooth tiger and the snow sloth, which exerted a fragile control over the frigid terrain of Earth’s first and greatest climate catastrophe. Each episode ends with commentary by Bill Gates, who has thought it all over and decided it’s bullshit. (Apple TV)
Stranger Things 5, Volume 1 — Arriving just in time for the Hellfire Club to receive their AARP cards, the show’s eagerly awaited conclusion finds our heroes determined to eliminate Vecna once and for all. Supposedly, we’ll also discover the true nature of the Upside Down. You mean we aren’t living in it? (Netflix)
WondLa — In the third and final season of this animated fantasy, human heroine Eva fights to save her world by recapturing the purloined Heart of the Forest. But is all that trouble really worth it for something that couldn’t make it off James Cameron’s drawing board? (Apple TV)
Premiering Friday:
The Stringer: The Man Who Took the Photo — Remember that famous pic of a Vietnamese girl getting blasted by napalm? The shot that was credited to AP photographer Nick Ut? Well, modern investigators suspect it may have actually been the work of a Vietnamese stringer. I don’t know, man. They’re going to have to work hard to sell me on the idea that a local came out on the short end of that war. (Netflix)
Premiering Monday:
All the Empty Rooms — A documentary crew hits on a novel way to underline the epidemic of gun violence: photographing the bedrooms of children lost to school shootings. You know what would be even more persuasive? If they TOLD THE PARENTS THEY WERE SHOWING UP FIRST. (Netflix)
Love Is Blind Italy — The latest international edition of the hit dating franchise is hosted by sportscaster Fabio Caressa and his wife, news presenter and culinary expert Benedetta Parodi. Expect to see her dishing all kinds of dirt about the contestants on her Twitter, because she can just explain it’s a Parodi account. (Netflix)
My Next Guest Needs No Introduction With David Letterman — Dave welcomes the legendary Adam Sandler. And if that prospect doesn’t thrill you, just remind yourself that the last guy he platformed was Warren Zevon. (Netflix)
Troll 2 — This sequel to the 2021 schlock-horror hit raises the stakes by depicting the coming of a fresh and fearsome menace, the Megatroll. It’s like a newer and more virulent version of Nick Fuentes assembled from the bodies of several lesser Nick Fuenti. (Netflix)
Premiering Tuesday:
Matt Rife: Unwrapped: A Christmas Crowd Work Special — Last year’s favorite stand-up comic celebrates the holiday in his trademark fashion: by letting the paying customers do his work for him. Stay tuned for New Year’s Eve, when he’ll be going for the really big laughs by making a withdrawal from a food bank. (Netflix)
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Plus Jordan Peele’s take on the Black cowboy, Apple TV brings back Mark Wahlberg for another ‘Family Plan,’ and lots more to binge
Plus ‘Tiffany Haddish Goes Off,’ ‘Nouvelle Vague,’ and a bunch more streaming premieres this week
Plus everything else premiering on Netflix, Prime Video, Hulu, Peacock and Disney+ this week
Disneyland After Dark will include 70 Years of Favorites, Sweethearts’ Nite, Disney Channel Nite, Star Wars Nite, and Pride Nite with dates being announced for all.
Disneyland recently announced the dates and initial details for all five of the 2026 Disneyland After Dark events, including new themes, new events, and fun new perks. Disneyland After Dark is a separately ticketed event held at Disneyland on select nights from January to June. The events take place from 9 pm-1 am, but admission includes a pre-party mix in allowing guests into the park as early as 6 pm. The purchase of tickets also includes unlimited digital downloads of Disney Photopass photos, and a commemorative event guide map, and a keepsake. 70 Years of Favorites, Sweethearts’ Nite, Disney Channel Nite, Star Wars Nite, and Pride Nite have been announced as the five themes for this year’s Disneyland After Dark.
Sweethearts’ Nite
The night is dedicated to celebrating love for all sweethearts, whether spouses, family, or friends will be returning this year. With nine nights, including January 22nd, 25th, 27th and February 3rd, 5th, 8th, 10th, 12th, and 7th, it is a good way to kick off the year. Bringing back the same environment as past years, the nights will also include a few new events and items.
Entertainment will include:
The “Celebrate Love Cavaclade” as it glides down Mainstreet, USA (new)
“Once Upon A Dream – A Musical Journey Through the Disney Songbook” featuring live singers and culminating in a nighttime ball beneath the stars (new)
A Valentine’s Dance Party at Tomorrowland Terrace featuring Donald Duck and Daisy Duck
Disney Duets Festive Karaoke in the Golden Horseshoe (new)
Photo Backdrops staged throughout the park referencing all your favorite films like “The Aristocrats”, “Tangled”, “Aladdin”, and “Lady and the Tramp”
Specialty food will include:
A Triple Berry Slushy with a Mickey-Shaped Glow Cube at Galactic Grill (new)
Surf N’ Turf loaded fries at Red Rose Taverne
Mickey Shaped Strawberry Cream Puff at Rancho Del Zocalo Restaurant
Additional specialty items are available at table-service restaurants like Café Orleans, River Belle Terrace, and Carnation Café, but reservations are recommended
Sweethearts’ Nite will also feature Mickey Mouse and Minnie Mouse ear headbands, trading pins, T-shirts, zip-up hoodies and tumblers for sale.
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70 Years of Favorites
One of the new themed nights is 70 Years of Favorites, celebrating the seven decades of unforgettable moments at Disneyland park, in honor of Disney’s 70th anniversary. There will be just two nights, on March 3rd and 5th. Events will include:
Swing dancing at the Royal Theatre in Fantasyland
A Videopolis Dance Party at Tomorrowland Terrace, featuring a live DJ and ‘80s tunes in a throwback setting
Line dancing at The Golden Horseshoe, paying tribute to “Woody’s Round Up” show, a staple on the Frontierland stage in the late ‘90s and early 2000s
Photo opportunities thrown back to past entertainment like “Mad T Party”, “Main Street Electrical Parade” and Club Buzz
Encounters with “Long Lost Friends” including those from Disney Afternoon, “Mother” and “Father” from Carousel of Progress, Merlin, Flik and Atta, and the Fantasmic! Monkeys
And as with all Disneyland events, special food will be featured as well, including:
Mushroom Philly Sandwich (plant-based) and Maple Bacon Cinnamon Roll at Jolly Holiday Bakery Cafe
Birria Mac and Cheese in a Bread Bowl at Refreshment Corner
Gaston Brew at Red Rose Tavern
Additionally, Blackened New York Steak and Prawns will be available at River Belle Terrace, but reservations are recommended
Disney Channel Nite, Star Wars Nite, and Pride Nite are all returning themes for Disneyland After Dark, with further details about their entertainment and specialty foods to be announced early in 2026. Disney Channel Nites will be a blend of entertainment, characters and music, celebrating the beloved eras of the iconic TV channel will take place April 12th, 14th, and 16th, followed by Star Wars Nites on April 28th and 30th, as well as May 4th and May 6th. The two Pride Nites will take place during the month of June, Pride month, on the 16th and 18th to celebrate and bring together allies and members of the community for a festive evening featuring rainbow projection, lively decor, and dazzling entertainment.
Tickets for the 70 Years of Favorites and Sweethearts’ Nite go on sale to the general public on December 11 at 9 am. Magic key presale holders can get tickets on December 9th if they are Inspire Key holders, while All-Key holders get access to tickets on December 10th. Sale dates for the other three nights will be announced along with their other details in 2026. These nights will be full of magic and fun so don’t miss out.
Wicked: For Good, starring Cynthia Erivo and Ariana Grande as frenemy witches Elphaba and Glinda, stays fairly faithful to its source material. But fans of the Broadway musical may be surprised to find that Wicked: For Good also makes a few unexpected left turns not found in the second half of composer Stephen Schwartz and writer Winnie Holzman’s stage musical. Those changes—which the film’s creative team discussed with me for Universal and VF’s official Wicked: For Good podcast—mostly have to do with Grande’s Glinda the Good, who closes her character arc by stepping into her power in a new way. (Warning: Spoilers for Wicked: For Good are below.)
Wicked: Part One focused on Elphaba’s journey from green-skinned Shiz University student to the Wicked Witch of the West. But while Erivo’s Elphaba is still front and center in Wicked: For Good, the sequel is more focused on Glinda’s turn from powerless figurehead and brand ambassador for the Wizard (Jeff Goldblum) to a truly good witch who has her own magical powers. In a departure from the stage show, director Jon M. Chu includes a flashback to little Glinda, played by Scarlett Spears, at her birthday party, attempting to convince her guests that she has magical powers. It’s a moment meant to mirror the flashback scene from the first Wicked when little Elphaba, Karis Musongole, discovers her innate magical powers.
Over the course of Wicked: For Good, written by Holzman and Dana Fox, Glinda’s perfectly manicured facade cracks as Elphaba’s power grows. In another change from the stage play, Erivo has a new song—a rousing ballad called “No Place Like Home”—which underlines her commitment to Oz. Schwartz also added a new song for Glinda, the eleven o’clock number “The Girl in the Bubble,” in which Grande’s character wrestles with her complicity in the hunt for Elphaba—and finally, actively, makes the choice to make good on her promise to truly be Glinda the Good.
Before the end of the film, the estranged witches reconnect to sing the titular song, “For Good.” The stage show ends shortly after this number, with Elphaba “melting” after Dorothy Gale throws a bucket of water on her and Glinda pledging to the Ozians that she will try to be good. Wicked: For Good follows similar beats: After Elphaba has seemingly melted, Glinda stands up to both the Wizard and Madame Morrible (Michelle Yeoh), imprisoning Morrible and revealing to the Wizard that Elphaba was, in fact, his daughter, after discovering they both drank the same green elixir. All of this happens on stage as well.
What’s new, though, is that in the final act of the film, both Elphaba and Glinda each get what they desire. Glinda ends the film by closing the arc on the story’s persecuted talking-animal subplot, asking for all of the Ozians to join her in inviting the recently excommunicated creatures to return to Oz. The stage play leaves this thread dangling, while in the film it’s clear that Elphaba’s sacrifice was not in vain, and that Glinda will carry through on her efforts to make Oz a safe space for all. We even see Elphaba’s favorite mammalian professor, Dr. Dillamond (Peter Dinklage), and his tiny goat glasses return to his classroom.
This will bring live coverage to Disney+ and ESPN in the country for the first time, along with ESPN documentaries and live broadcasts of NBA Countdown.
The deal kicks off with a doubleheader on Thursday (November 20), with the Houston Rockets at the Cleveland Cavaliers followed by the New York Knicks at the Dallas Mavericks. Following that will be marquee events such as NBA on Christmas Day, the NBA Draft and the All-Star Celebrity Game.
Disney+ subs in the Philippines will be able to stream one NBA Conference Finals series live, with the others and the NBA Finals available after a delay.
“For millions of Filipinos, basketball isn’t just a sport – it’s a passion, a shared language and a powerful source of national pride,” said Vineet Puri, Vice President and General Manager, The Walt Disney Company Southeast Asia. “The NBA is deeply woven into the fabric of Filipino life, inspiring generations of fans and uniting local communities.
“Through this unique deal, we are bringing basketball fans in the Philippines closer than ever to the teams and players they love with all the NBA-focused programming while enjoying the best in global entertainment all on Disney+.”
“Our collaboration with Disney+ Philippines makes it easier than ever for our passionate fans across the country to access the NBA, experience iconic moments from throughout the season and follow their favorite teams and players on the devices and platforms they use most,” added Kelly Cooke, Head of Content Partnerships and DTC at NBA Asia.
Sports rights deals are becoming increasingly important to local streaming services. In Asia-Pacific, Disney+ has primarily focused on securing rights in Australia and New Zealand, where the service has an ESPN+ sports tile.
In an interview with Deadline last week, Disney’s APAC content chief Carol Choi was keen to manage expectation on sports rights deals, but did say: “We are constantly looking at what’s available and where the market is mature enough to integrate sports into our offering.”
Disney TV Studios boss Eric Schrier, in Hong Kong for the Disney APAC Showcase, was more bullish, telling us: “You’ll see us opportunistically get into some sports in some local territories. We have that capability in live sports, so on a global basis, we’re looking at sport in an opportunistic way where it can complement what we’re trying.”
