Disney’s recent internal push for original films — and CEO Bob Iger’s line that the priority “is to put out great movies” — jolted Hollywood this week. Variety reports the studio is urgently courting new IP and gaming tie‑ins to lure Gen‑Z men (ages 13–28). The move follows underwhelming franchise returns, a 10% Gen‑Z box‑office share in 2024, and a $1.5 billion Fortnite investment. Expect green‑lights, fresh pitches, and marketing experiments that could reshape Disney’s 2025–2026 theatrical slate and what fans see on opening weekends.
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Need to know
- Disney execs have demanded original films to lure Gen‑Z men (ages 13–28) back to theaters.
- Disney held ~10% of Gen‑Z ticket buyers in 2024, underperforming rivals by points.
- Bob Iger told investors the priority “is to put out great movies,” signaling strategy change.
- $1.5B equity in Fortnite aims to reach young players; movie tie‑ins expected.
- Next step: studio reviews pitches; new originals and marketing tests likely through 2026.
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Variety reports that on an earnings call Disney CEO Bob Iger framed the studio’s next move not as franchise-first but as quality-first, saying the priority “is to put out great movies.” That compact, almost corrective phrasing surprised insiders because it flips the prevailing assumption that existing IP would dominate development. For talent and financiers, the line means the studio is now explicitly open to originals that can break through culturally — and it raises questions about how Marvel, Lucasfilm and other tentpoles will be reprioritized.
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Reactions split across two camps: some studio rivals and creators welcomed an originals push as overdue; many fans and online commentators read it as an admission that recent franchise moves “lost” male viewers. Variety included newsroom conversations and comment threads showing that defenders point to Disney’s four billion‑dollar-plus films in the last 16 months, while critics cite uneven franchise launches and viral audience trends. The debate matters because polarization can shape opening‑week social momentum — the difference between a quiet release and an online phenomenon.
The 6 key numbers that show Disney’s Gen‑Z problem and upside in 2024–25
| KPI | Value + Unit | Scope/Date | Change/Impact |
|---|---|---|---|
| Gen‑Z ticket share | 10% | United States, 2024 | Slightly below top rivals; room to grow |
| Fortnite stake | $1.5B | 2024–25 | Strategic reach to younger players |
| Big‑box office titles | 4 films > $1B | Past 16 months | Industry-leading recent wins |
| Potential $1B films | 2 titles | 2025–26 slate | Could offset franchise slippage |
| Indiana Jones reboot | $383M gross | Global, 2023 | $383M vs $300M budget; underwhelming margin |
Summary: Investments and a few billion‑dollar hits cushion risk but Gen‑Z traction still lags.
Who spoke, who benefits, and what this quote means for Disney’s pipeline by 2026
The quote Variety cites comes from CEO Bob Iger on a recent earnings call; he framed studio priorities around quality over default IP sequencing. Executives like David Greenbaum and new hire Daria Cercek are now tasked with sourcing originals and male‑leaning concepts. The message will reverberate through development meetings: more open calls for original adventures, seasonal tentpoles (Halloween corridor), and cross‑platform experiments with gaming partners. For filmmakers and buyers, the practical effect is clearer green‑light windows for fresh IP through 2026 if test audiences respond.
A five‑word sentence from Iger crystallized a big bet: Disney will court originals and test marketing to win back Gen‑Z men. Watch for quick changes in the studio slate, more gaming tie‑ins, and a PR strategy aimed at turning polarized chatter into ticket sales. Which pitch will flip the demo — and when — is now the story.
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Jessica Morrison is a seasoned entertainment writer with over a decade of experience covering television, film, and pop culture. After earning a degree in journalism from New York University, she worked as a freelance writer for various entertainment magazines before joining red94.net. Her expertise lies in analyzing television series, from groundbreaking dramas to light-hearted comedies, and she often provides in-depth reviews and industry insights. Outside of writing, Jessica is an avid film buff and enjoys discovering new indie movies at local festivals.