Disney+ status: streaming issues and outage reports

Problems in the last 24 hours

The graph below depicts the number of Disney+ reports received over the last 24 hours by time of day. When the number of reports exceeds the baseline, represented by the red line, an outage is determined.

Most Reported Problems

The following are the most recent problems reported by Disney+ users through our website.

• Sign in (39%)
• Buffering (32%)
• Crashing (20%)
• Playback Issues (6%)
• Video Quality (3%)

Live Outage Map

The most recent Disney+ outage reports came from the following cities:

City	Problem Type	Report Time
Waltham Forest	Buffering	11 hours ago
London	Sign in	14 hours ago
Paris	Crashing	14 hours ago
Lyon	Sign in	1 day ago
Liverpool	Sign in	1 day ago
Sydney	Playback Issues	2 days ago

Full Outage Map

Community Discussion

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Disney+ Issues Reports

Latest outage, problems and issue reports in social media:

• 
  ⚡️Guitar Hero⚡️ (@guitarhero_mmm) reported 3 minutes ago

  @OwenShroyer1776 The reason the song did well was because the writers and producers directed how it was sung. They didn’t let her run all over the place. Those producers didn’t work with her again, because she’s a ***** and the industry writers can’t stand her. That, and the Disney song were it.

• 
  avocats (@avocats) reported 6 minutes ago

  Nah, Disney does MUCH better work!

• 
  El Zorro (@ZorroOnda) reported 6 minutes ago

  @CoreRiff Probably came from Disney believing that they could get in trouble with this kind of slapstick in live action, even though I'm sure there were Dan Schneider shows at the time that got away with worse with non-puppet characters

• 
  Tarryn borden (@tarryn_borden) reported 6 minutes ago

  I miss these old school commercials. But I love what I do and that is to work at Disney and make magic

• 
  Michel Adum Abdala (@MichelAdum) reported 7 minutes ago

  This is NOT a TV configuration or region issue.English audio works perfectly fine on Netflix, Disney+, and Max on this exact same TV.I have already tried reinstalling the app, clearing cache, changing DNS, and doing a full power cycle. Nothing works.

• 
  W (@wayyfent) reported 9 minutes ago

  @FreddieFlower12 That's a major problem. Disney ruining the by "preserving the marketability" as a result of having no faith in the audience (one that they don't cultivate). This is why Disney has ruined Star Wars and are in the process with Marvel.

• 
  ThatOnePassholder (@That1Passholder) reported 14 minutes ago

  My fingers crossed dream announcement is that all the TLC that was supposed to come to Disneyland Paris (which btw @TPMvideos made a great video on today, so go watch) would actually happen. The Mark Twain, Jolly Rodger, and De La Terra a La Lune have been left in horrible condition, and need to be actually put on the refurbishment calendar. Also I know it wouldn't happen, but it would be cool to see the Keel Boats return. Additionally there is room at Paris to build a new "Western Style" Soarin in the back, they should do it in the Splash spot since we will unfortunately never see Splash there. Their Frontierland is already a rival for the best one but it could still absolutely blow the others out of the water even farther. Let's see it! Look how big of an area this is without even touching the out of park space? It's litterally only killing 2 restaurants and the worst coaster in Disney history... so it would be WELL deserved and worth. They really like Coco and Indiana so make something like Tropical Americas there.

• 
  Scott O'Connor (@Scottoconnor97) reported 18 minutes ago

  @CLEsportsTalk Ruined all hope. Let’s not pretend any longer. This logo is awful btw. It’s screams Disney. Last night was the nail in t he coffin.

• 
  (((Aaron Walker))) (@AaronWorthing) reported 18 minutes ago

  One thing that occurred to me is this In this case Disney had a partner in this, Sony. They couldn’t just do whatever they wanted, they had to convince somebody else it was a good idea They used to have a committee within Marvel which they had to convince before they got the greenlight on anything. Then Kevin Feige got it set up that he would not have to do that anymore and the quality took a nose dive. Feige seems to have had some good ideas but he needs a filter. If Marvel was smart they would figure out that this is showing them how to be successful. But I’m not sure Marvel is smart anymore

• 
  Dom (@Dommm1996) reported 24 minutes ago

  Disney have had a “Eragon” tv show in the works for a while and I hope they adapt it better than that terrible film we had. I loved those books as a kid

• 
  SunnyCombo (@SunnyComb000) reported 25 minutes ago

  @WilliamTho75474 @NewSalvage This is a HBO show being run by a guy who has produced prtisege TV not one dumped onto Disney Plus, HBO consistently puts out high quality stuff and if you get a show ordered for them it's highly likely to be very good especially in the time slot it's going to air. Loom at

• 
  Matt Jarbo (@mjarbo) reported 25 minutes ago

  David Ellison is promising that if the Paramount-Warner Bros. merger goes through, the combined company will release 30 movies a year. THEATRICALLY. That word is doing a lot of ******* work here. Paramount is apparently willing to put this into three-year contracts with AMC and Regal, complete with penalties if they don't deliver. So this isn't just Ellison saying nice things in an interview. But 30 theatrical movies every year means, if you split it evenly, roughly 15 from Paramount and 15 from Warner Bros. I don't see how they pull that off. Paramount hasn't been operating anywhere near that kind of theatrical volume, and they're about to borrow nearly $50 billion to buy Warner Bros. while simultaneously promising billions in cost savings to service all that debt. The deal already has nearly $24 billion coming from sovereign wealth funds in Saudi Arabia, Qatar and the UAE, and the longer this thing drags through the courts, the more expensive it gets. And now we're supposed to believe the answer is dramatically INCREASE theatrical production? Disney releases a lot of movies every year too, but that's spread across Disney, Pixar, Marvel, Lucasfilm, 20th Century and streaming. Ellison isn't promising 30 pieces of "content." He's promising 30 movies in actual theaters. I love the ambition. I want more theatrical movies. I want Paramount and Warner Bros. making 30 good movies every ******* year. But promising it and building a studio capable of actually doing it are two very different things. David Ellison is promising everyone the moon right now because he needs this merger approved. I'll get excited when I see how he plans to pay for the rocket.

• 
  Marla Seraphine (@marlaseraphine) reported 26 minutes ago

  And this is exactly why my DreamWorks SKG analogy keeps surviving developments that initially look as though they contradict it. A capital-light studio/distributor doesn’t necessarily want fewer movies passing through its distribution apparatus. It wants less of its own capital at risk per movie. Those are perfectly compatible objectives. In fact, a platform-oriented Paramount would arguably want more throughput. Think about the combined company’s infrastructure: IP → development → packaging → financing partners → theatrical distribution → PVOD → licensing → Paramount streaming/bundle → advertising Thirty releases give that machine enormous throughput. But Paramount doesn’t necessarily need to write the entire production check for every piece of content entering the machine. The distinction I’d make now: my original thesis probably needs one refinement. I wouldn’t call Ellison’s future Paramount merely a capital-light studio anymore. I’d call it a capital-efficient studio + high-throughput distribution platform. Paramount/WB can continue directly financing the movies where ownership of the economics is especially valuable—Batman, Superman, Harry Potter, Top Gun, Mission: Impossible-type assets, major filmmaker packages, etc.—while using co-financing, third-party capital, acquisitions and distribution arrangements farther down the slate. The expensive part of the portfolio becomes selective. The distribution infrastructure remains enormous. And remember the EU development I discussed: Ellison apparently cannot simply solve the cost problem by turning the combined company into a domestic distributor and handing international theatrical distribution wholesale to Universal. So the global distribution apparatus becomes something he needs to feed, not eliminate. Thirty movies suddenly makes more sense from that perspective. There’s another interesting tell: the windows. The 45/90 structure is surprisingly exhibitor-friendly. Paramount had already publicly promised a minimum 45-day exclusive theatrical window and no SVOD until day 90. The proposed contracts would make that enforceable rather than aspirational. But notice what remains between them: Day 0–45: theatrical exclusive Day 46–89: presumably transactional/PVOD opportunity Day 90+: SVOD permitted That’s not abandoning digital economics. It’s constructing a deliberate revenue waterfall. The movie gets monetized repeatedly rather than being treated primarily as an acquisition funnel for Paramount+. And THAT is extremely consistent with the broader change we’ve been tracking across the industry. The streaming wars were: MAKE CONTENT → PUT IT EXCLUSIVELY ON OUR STREAMER → ACQUIRE SUBSCRIBERS The emerging model is: MAKE/ACQUIRE CONTENT → MONETIZE IT EVERYWHERE → THEATRICAL → TRANSACTIONAL → STREAMING → LICENSING → ADVERTISING → BUNDLING The asset gets sweated. And Bloomberg itself basically points at the contradiction This passage is extraordinary: Disney promised to maintain output after acquiring Fox. Output fell. Paramount is borrowing almost $50 billion. Paramount needs billions of cost savings. Bloomberg is essentially saying: “We have heard this movie before.” Which is why Ellison is now putting his promise into contracts. But even contractualizing the promise doesn’t solve the underlying economic equation. It merely changes what variable Ellison has to adjust. If: 30 releases = fixed and deleveraging = fixed and billions of cost reductions = fixed then something else has to become variable. And the obvious variables are: -average negative cost -Paramount’s percentage of financing, -outside capital, -acquisition strategy, -staffing, -overhead, -production geography, -marketing expenditure and -partner participation. That’s where I think the story is headed.

• 
  Aaron Dunn | composer | audio engineer | musician (@adunn_87) reported 28 minutes ago

  @realpeteyb123 If it’s actual jazz, no problem, it can stay. Anything else (Disney, pop covers) it can go immediately

• 
  Gianmarco_zannelli. (@LordJulius2) reported 29 minutes ago

  @SF_1232 Yeah. Is bad, but indie community overeacting too much, Because they not expecting next Gravity falls level of show (since you know? They are want show Indie same level be glitch studios or fan-favorite of disney adult)

• 
  Untamedbeing (@Untamedbeing1) reported 30 minutes ago

  @MarthsBars The sequel trilogy had some of the worst writing in cinema. They belong in the dustbin of history. The only good movie to come out in the Disney era was Rouge One.

• 
  Jason (U mad) (@EmperorTChalla) reported 31 minutes ago

  you tweeted this as if Disney didn't do all the work for this film LMAO

• 
  Thomas Lehrer (@ThomasLehrer) reported 33 minutes ago

  @BuzzPatterson And for people that think I don't care. One of my aunts. Super smart. Heard about a Disney trip. Hid her fever. Led to her coma and retardation. Before I was born. Even after she still was employed. Minimal work, but tells me that others have zero drive.

• 
  Espaguetis Kris Deltarune 🍝 (@paco_00723) reported 36 minutes ago

  @mr_beans82 @AbbyAZK I mean they have that kind of money (netease, marvel,disney) and would fix almost everything

• 
  Ayden Jent PLY (@Ajent20) reported 37 minutes ago

  @stormfall33 Why can’t Disney just pony up the money and throw multiple major cameos in it for a couple of seconds? Would’ve been funny to see Thor pop in for a friend from work. Captain Marvel or Ant Man.

• 
  JonathanShuerger (@JonathanShuerg1) reported 40 minutes ago

  @karentraviss Huge fan of your Clone Commando novels. Tried to imitate when I wrote my milfic novels, and when I work on my upcoming series. Lot of missed opportunity by Disney to pursue your in-depth military angle.

• 
  **** off m8 (@bakuvents) reported 40 minutes ago

  @Gobiuss18 @ToonHive What Disney movies were you watching that included ******? Did they include “XxX” or “porn” in the name? I think you need serious help

• 
  Fanboy (@No1Movienerd) reported 40 minutes ago

  @comicaccuracy I think people bitching about the shows wasn't the biggest issue, it's the money, these shows are such high production value and they didn't generate much Disney+ growth, there's a world where they stop the shows, take a beat and bring them back on a smaller scale like DDBA

• 
  Kyle Loveless (@Kylel999) reported 43 minutes ago

  @SaturnSilent Zero interest in watching Finn or Rey. Both were terrible characters — and let’s be honest — he was there to be the black guy. That’s it. The rest is head canon from fans about what they would have done with the character. Disney never was.

• 
  Charles Del Ray (@351Cercadeferro) reported 49 minutes ago

  @WSJ Question is were you still living in Cincinnati? Problem not. Drove through Pochahontas, Indiana and thought, never again. Dog was in Disney world.

• 
  JesseTheFilmLover 🎥🎞🎬🧩🎙👂🎧💖 (@JesterFilmLover) reported 50 minutes ago

  Zack Snyder's DCU films are terrible, MCU is Overrated, The Jim Carrey Grinch is Nightmare fuel, The Lion King is NOT better than the Older Disney Classics from the Walt Era.

• 
  Sanity Claus (@chicknthief) reported 50 minutes ago

  @RICARDOFUNKE61 @munitadiego @jesus_osorior That’s rich. Here’s the problem, it may be a Ferrari body, but the engine is wore out, the suspension is shot, and the upholstery has holes in it. Disney just isn’t what it used to be. The park in Orlando was a dump the last time I was there.

• 
  Helpsters1101 (@helpsters1101) reported 53 minutes ago

  @inkboy24 @ToonHive Imagine if Planes characters show up in Cars: Lightning Racers. Given how Kiara from The Lion King 2: Simba's Pride was in The Lion Guard, Disney Junior has no problem using characters that debuted in movies from Disney Toon Studios.

• 
  sean 3.0 • dm for orders (@seanushii) reported 57 minutes ago

  wtb lf kahati disney plus wts lfb ph vouches — #seanproofs 💬 ₱ fifty-five /month ~ can login sa TV ~ can drop agad, rush tags spiderman brand new day doomsday avengers mcu peter parker premium

• 
  JW (@yetisnephew) reported 58 minutes ago

  @BobDinMI @planetjeejee @DisneyPlus You can’t get any help from them either!!!! They have the worst streaming service ever.