The Walt Disney Company is probably hoping that upon viewing the new trailer for the upcoming Star Wars film The Mandalorian and Grogu, audiences feel a swell of nostalgia. No, not for 1977, when Star Wars was fresh and wondrous; after all, Disney didn’t even own it then. Not even for a decade ago, when the company brought the film series roaring back with 2015’s The Force Awakens, still the highest-grossing movie in US box office history. Rather, the trailer, consciously or not, hopes to transport viewers, and presumably profits, back to the halcyon days of … 2019.
They would probably settle for any time before their brief but tumultuous suspension of Jimmy Kimmel from ABC became national news. But 2019 would be preferable. That year, Disney’s exercised almost unprecedented box office domination, boasting an astonishing seven of the year’s 10 biggest hits – and an eighth featuring Spider-Man, a Disney-owned character in a movie produced by Disney’s Marvel Studios (but released by Sony). Remakes of Aladdin and The Lion King, sequels to Toy Story and Frozen, two to three Marvel installments (depending on how to count Spider-Man), and a new Star Wars movie added up to around $10bn in global grosses. If the Star Wars movie The Rise of Skywalker landed a little soft compared to its better-reviewed predecessors, even that cloud had a silver lining: the late 2019 debut of The Mandalorian on the then new Disney+ streaming service was an instant sensation. Even genuinely rapacious corporate moves, like Disney’s purchase of 20th Century Fox, were greeted in some fan corners with unthinking delight, because it meant some errant licensed Marvel characters could be in the MCU.
As the Covid-19 pandemic (as well as relatively bare franchise cupboards) made replicating those 2019 profits impossible over the next few years, the company at least attempted to burnish some goodwill from contemporary audiences in other ways. In particular, Disney’s various entertainment brands/fiefdoms – Pixar, Marvel, Lucasfilm, etc – seemed to keep the company’s most evil (or equivocating) corporate instincts at bay. In 2022, Pixar and Marvel employees helped push back against the company’s initial silence on Florida’s “don’t say gay” bill prohibiting discussion of sexual orientation or gender identity in elementary school classrooms, which the company eventually condemned. Those companies were also beginning, after a long delay, to diversify their slate of movies, shows and characters, with projects such as Black Panther, Captain Marvel, Turning Red and The Acolyte.
But the mixed reception to some of these projects, as well as a general mortal terror that they couldn’t somehow make a Frozen, Toy Story, Star Wars and Avengers movie happen every year in perpetuity, seemed to spook Disney somewhere in the transition period from supposedly brilliant CEO Bob Iger to stumblebum replacement Bob Chapek back to Iger again. Despite his savior status, Iger himself exposed that fear when he spoke with corporate-coded cowardice about future projects not putting forward “any kind of agenda”, a pledge in deference to meaninglessness that made even the more craven “exclusively gay moments” or long-delayed female-led Marvel movie seem fiery by comparison. Corporate skittishness over including gay or minority characters that might offend vague “international audiences” was now policy.
In some ways, the company was probably just catching some blowback from the much-delayed revelation that CEOs are largely useless figureheads. Yet a series of clumsy, cowardly decisions seemed to transcend boardroom drama. Disney has been carrying out Iger’s edict in a sloppy panic. Seemingly rattled by the ire of random YouTubers, the vagaries of a post-pandemic world and the re-ascension of Donald Trumpo, this year alone the company’s removed all references to a transgender character’s identity on a Pixar streaming show; completed the bowdlerization of the Latino-driven Pixar movie Elio, which originally featured a queer-coded character; reoriented (and renamed) their corporate DEI initiatives to emphasize the generation of that old fan favorite, profit; dumped Black-led Marvel show Ironheart out in a single binge despite using a weekly release model for its marquee shows; and yanked Jimmy Kimmel off the air for expressing skepticism over the Maga-world reaction to the murder of Charlie Kirk, before eventually backtracking. (ABC affiliates under Sinclair Broadcast Group and Nexstar ownership will continue to pre-empt the show until further notice.) In an elegant cherry of bad PR, Disney apparently decided the time was also right for a streaming-service price increase, its third in three years.
Of course, as with any massive corporation, Disney’s earlier diversity focus was probably more for the sake of public image and accompanying business interest than genuine empathy. It’s worth asking, then, whether any of these decisions did, in fact, make money for the company especially compared to the profits generated by the Black Panther movies, or a more diverse Star Wars trilogy. The revised Elio could scarcely have made much less at the box office; it’s the lowest-grossing Pixar movie other than those directly affected by the pandemic. Are any Disney+ subscriptions attributable to de-transing a supporting character on an eight-episode miniseries? On the other hand, plenty of people did seem to cancel their subscriptions over the Kimmel battle, and the company’s stock price dipped over the past week. If the idea for any of this was winning back Maga folks in the long run, well, good luck with that. They’re still fuming over the same-sex kiss in Lightyear or girls being in Star Wars or Black people being in anything. The plain truth is, there’s a certain Maga demographic that accepts nothing less than full capitulation to their preferences and values – and you can’t dabble in full capitulation.
That’s why Disney’s real wish must be for a 2019 revival. Back then, there might have been little teapot-level tempests here and there from audience segments who complain that a remake is too woke or, on the less rabid side, who regard the inclusion of, say, queer supporting characters as mild (and cynical) concessions, but $10bn buys executives a lot of confidence (even if it’s apparently not enough for actual courage). After all, that’s an environment where no one’s favorite Star Wars film can still eke out a billion dollars worldwide.
Disney isn’t alone in facing a tough entertainment landscape where movies don’t gross quite as much and streaming services can easily tip into overspending. But it’s the company that now seems most terrified of this new world, maybe because its late-2010s surge somehow created the impression that endless and unbeatable growth on the backs of perma-beloved nostalgia brands would be possible. It’s not, and if there’s an upside to Disney’s morally checkered year, it’s the revelation that brands are not bulletproof spine protection. No one mad about Jimmy Kimmel’s suspension (or mad about his words to begin with) seems to be taking solace in the upcoming release of another Zootopia movie. The Mandalorian movie looks fun, fan-friendly, perfectly watchable … and that’s not enough to save anyone.