Why Disney Keeps Rebuilding Its Empire, and Why Streaming Makes This Time Different
The Disney described at the beginning of this Acquired episode is not an inevitable empire.
Curated articles and deep insights from podcasts
The Disney described at the beginning of this Acquired episode is not an inevitable empire.
Pixar did not begin as a miniature Disney.
Netflix did not suddenly appear when Disney began planning Disney+. By the point the episode treats as the market's decisive recognition, Netflix was already a large public company.
Disney is now commonly represented as a precise flywheel: films create characters, merchandise, television, and parks expand their reach, and the resulting money and attention finance the next work.
Disneyland did not begin as a corporate strategy for extending film characters into the physical world.
Animation in the early 1930s could reliably produce laughter, but it had not proved that an audience would believe characters, follow emotion, and remain engaged across a feature.
Ferrari is often reduced to one famous rule: make one car fewer than the market wants. But low volume alone does not create a luxury company. It can just as easily create a small, fragile manufacturer.
When Luca di Montezemolo returned to Ferrari in 1991, the obvious response to weak sales would have been to find more buyers. He did the opposite.
The episode presents Formula 1 as more than a racing championship.
The NFL's rise is often told as a story about America's love of football. In Ben Gilbert and David Rosenthal's account, that explanation misses the operating system.