Walt Disney Earnings Beat Market Estimates; Profit Slips at Parks

The entrance to Walt Disney studios is seen in Burbank, California, US August 6, 2018. REUTERS/Lucy Nicholson/File Photo Purchase Licensing Rights
The entrance to Walt Disney studios is seen in Burbank, California, US August 6, 2018. REUTERS/Lucy Nicholson/File Photo Purchase Licensing Rights
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Walt Disney Earnings Beat Market Estimates; Profit Slips at Parks

The entrance to Walt Disney studios is seen in Burbank, California, US August 6, 2018. REUTERS/Lucy Nicholson/File Photo Purchase Licensing Rights
The entrance to Walt Disney studios is seen in Burbank, California, US August 6, 2018. REUTERS/Lucy Nicholson/File Photo Purchase Licensing Rights

Walt Disney reported on Wednesday quarterly earnings that exceeded Wall Street expectations, buoyed by the success of animated Pixar film "Inside Out 2", which helped overcome a profit decline at theme parks.

April-June operating income nearly tripled at its Entertainment unit, with the combined streaming businesses of Disney+, Hulu and ESPN+ posting a profit for the first time, Reuters reported.

But the company's shares slipped 0.8% before the bell as its experiences segment that includes parks and consumer products - and makes up just over half of profit - recorded an operating income drop of 3%. Disney said "moderation" of demand at its US parks could continue through the next few quarters.

Operating income for the unit is likely to fall by "mid single digits" in the July-September quarter compared with the same period a year prior, Disney said.

Adjusted earnings-per-share reached $1.39 for Disney's fiscal third quarter, topping analyst estimates of $1.19, LSEG data showed. Revenue rose 4% to $23.2 billion, beating forecasts of $23.1 billion.

Chief Executive Bob Iger touted success in the entertainment division, where Disney's combined streaming businesses turned a profit a quarter ahead of its projections.

"We are confident in our ability to continue driving earnings growth through our collection of unique and powerful assets," Iger said in a statement.

Iger is working to rebuild Disney after billions of dollars in loss from streaming efforts, the decline of traditional television and a rough patch for its storied film studio.

The movie studio is showing signs of resurgence.

"Inside Out 2" notched $1.6 billion in global ticket sales and "Deadpool & Wolverine," which debuted in the current quarter, has brought in more than $850 million.

"After several years of misfires and muted successes, Disney has now in the span of a month and a half released the highest grossing animated film of all time and achieved the largest ever opening for an R-Rated film," MoffettNathanson media analyst Robert Fishman wrote ahead of Disney's earnings release.

While it remains to be seen whether those successes represent a return to form, Fishman said, the upcoming film slate is "filled with highly dependable" titles including "Moana 2" and Oscar-winning director Barry Jenkins' "Mufasa: The Lion King."

The Entertainment division, which includes the film, television and streaming businesses, reported operating income of $1.2 billion in the quarter.

The Disney+, Hulu and ESPN+ streaming services produced operating profit of $47 million.

At the Sports unit, which includes the ESPN network and Star India business, operating income reached $802 million, a 6% decline from the previous year as costs to air cricket matches increased.

The experiences unit reported operating income of $2.2 billion. Demand slid at domestic parks, cruise ships, consumer products and some international parks "delivered improved results," Disney said.

Ben Barringer, technology and media analyst at Quilter Cheviot, said the parks results "pour fuel onto the fire" of concern about a slowing US economy.

"Coupled with other travel companies recognizing poor growth, it is clear people are scaling back their spend when it comes to tourism and recreation," Barringer said. "Some of this is due to Disneyland Paris struggling due to the Olympics being in town, as well as China going through its own economic problems, but the guide is not a positive one and thus we should expect further struggles through the rest of the year."



Movie Review: ‘Cuckoo’ Is a Stylish Nightmare, with a Wonderfully Sinister Dan Stevens

 This image released by Neon shows Dan Stevens in a scene from "Cuckoo." (Neon via AP)
This image released by Neon shows Dan Stevens in a scene from "Cuckoo." (Neon via AP)
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Movie Review: ‘Cuckoo’ Is a Stylish Nightmare, with a Wonderfully Sinister Dan Stevens

 This image released by Neon shows Dan Stevens in a scene from "Cuckoo." (Neon via AP)
This image released by Neon shows Dan Stevens in a scene from "Cuckoo." (Neon via AP)

Let’s get one thing out of the way first: I did not entirely understand everything that happens in “Cuckoo," a new indie horror in theaters Friday.

This could be more of a me problem than with the storytelling, but there are a lot of strange things happening at this particular Alpine resort. It's run by a bespectacled German hotelier named Herr König, played with an off-kilter menace by Dan Stevens.

Some of the occurrences are underexplained, others underexplored. Herr König seems particularly worried about things that happen after dark, but not so much about guests wandering into the reception and general store in a wobbly stupor and vomit. Are they drunk? Sick? Should someone help them? All we get is: “It happens.” The hospital, too, is eerily empty.

Sonic vibrations often ripple through the land, causing scenes to repeat until reaching a violent crescendo. And no one seems to listen to or care about anything 17-year-old Gretchen (Hunter Schafer) has to say, no matter how banged up she gets. The quick escalation of her injuries, and the widening disinterest of her father, approaches comedy.

Ambiguity can be wonderful for mystery and worldbuilding; It can also be frustrating. And more often than not, detailed explanations just make everything lamer. “Cuckoo” dips into all of the above. Even so, it is undeniably fascinating, original and even occasionally fun, in a very twisted and deranged way in which laughter is your involuntary response to something horrifying. In her captivating lead performance, Schafer really goes through it, both physically and emotionally.

It also features Stevens sporting tiny, rimless glasses with sinisterly scandi-cool monochrome outfits, and a screaming ghoul with Hitchcockian glamour in a hooded trench and white-framed oval sunnies. Rarely is it a bad idea for a horror film to lean into style, and “Cuckoo” fully commits.

“Cuckoo” is the brainchild of German director Tilman Singer, but credit also goes to Singer’s predecessors: The works of David Lynch and Dario Argento among them. Gretchen is a reluctant resident in the idyllic, modern home with her detached father (Martin Csokas), stepmother (Jessica Henwick) and mute half-sister Alma (Mila Lieu). She leaves increasingly desperate messages on her mother’s answering machine in America.

It’s certainly an exaggerated but apt portrait of a new family where the remnants of the old are treated like a nuisance. When Alma starts having seizures during the vibrations, which no one but Gretchen seems to remember or acknowledge, the parents’ attention turns fully to the young girl. They can barely be bothered to care about Gretchen's miraculous survival of a horrifying car wreck; Alma is in the same hospital because of the episodes.

As with many horrors, the big reveals were, for this critic, a little underwhelming — a strained attempt at a unifying theory for this weird place that doesn’t add much ultimately. And yet the emotional connection to Gretchen and her complex relationship with Alma does pay off in unexpected ways.

Also, Stevens deserves special acknowledgement for his contributions to “Cuckoo.” This is a man who could have easily languished in blandly handsome leading man roles and instead is becoming one of our great character actors. He is regularly the best and most memorable part of whatever he’s in just by his sheer commitment to going there, whether it’s his Hawaiian shirt wearing titan veterinarian in “Godzilla x Kong,” his Russian pop star in “Eurovision” or any number of his deranged horror characters. He and Schafer, always a compelling presence, make “Cuckoo” very much worth it. They exist far too comfortably in this dreamy, nightmarish world dreamt up by Singer that is well worth a watch.