Disney+ Outage Map

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Disney+ Issues Reports

Latest outage, problems and issue reports in social media:

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  Strange Places (@Drop_The_Colony) reported 7 minutes ago

  @MightyGazelle1 It's because MCU Spider-Man is written like a Disney channel series and no amount of good acting can fix that. I'm hoping to god BND is better.

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  recon (@longshotrecon) reported 9 minutes ago

  @TheMacabreGamer @khaliltooshort TRON Evolution 2010 is a better example. The PC version used SecuROM DRM that required online activation. When Disney stopped paying for the DRM service and the activation servers were shut down the game became unplayable for anyone who needed to reinstall it. The disc alone was no longer enough.

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  Marla Seraphine (@marlaseraphine) reported 10 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.

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  Ayden Jent PLY (@Ajent20) reported 12 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.

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  Deke Savage (@big_simp) reported 13 minutes ago

  @Stretchedwiener Why should I hire people? They are waaay too expensive for what im doing. let them go to big fat corporations like Disney - see how they like it [ Hint i worked for Disneys- worst job of my life ]

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  kazzu (@ushikazzu) reported 15 minutes ago

  wtb lfs lf: disney plus ph premium - 1 month - can login sa tv can drop po agad pls

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  Luke (@whitehartluke) reported 16 minutes ago

  @BenwRamsay I’m in Disney World atm and the only people who cause any trouble or are rude are us Brits. It’s embarrassing

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  Chris (@chriswithans) reported 16 minutes ago

  @varadmehta Yeah that’s correct. Disney got in trouble with Scarlett Johansson for that too with Black Widow. I think Warner did it again with Wonder Woman 1984. Maybe that was the last straw. Disney and Warner were going all in growing their streaming services. Universal always had a weird relationship with Peacock and of course Comcast was still supporting its cable systems over streaming at that time.

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  Rick (@Rick94213132) reported 19 minutes ago

  @starwarstufff A lot more of Thrawn and an awful lot more of his brilliance, not anger and miscalculation. Filoni fk’s this up anymore and he might as well leave Disney now.

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  Aaron Dunn | composer | audio engineer | musician (@adunn_87) reported 22 minutes ago

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

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  HoorayForFootball 🌴🫲😃🫱🌴 (@hoorayforeric) reported 25 minutes ago

  @Cine_vichaar Y’all have no idea how studios work and should never ost. Disney has full creative control of anything in the MCU, including the MCU spider-man films. Hulk has been under Disney control since the first Avengers movie. He’s been great!

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  apple (@sweetestaspen) reported 26 minutes ago

  i just wanna watch disney plus why wont my xbox work

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  Imperial Zink (@ImperialZink) reported 27 minutes ago

  @CinemascopeCool @ScottGustin There is one being made, though I don't know what stage of production its in. I work in the entertainment industry and I just heard Disney was looking for a payroll company to hire for it. It could be very early or not even fully greenlight right now but they are trying...

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  Robert William Cummings (@SquaredApe) reported 30 minutes ago

  @JimConnolly I can't believe how low the quality is. Plus they resell the programming anywhere that'll have them from Disney to anyone else with the pockets for it, all while being biased with pure engagement bait. The BBC? it is just a brand long past the sell by date. Not an institution.

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  Jov Volkov (@JovVolkov) reported 30 minutes ago

  @camyj13 @glindaupland the Disney kids did not have more of an advantage and had to work harder for it -- much harder. Gaga or Beyonce's dads didn't put up that kind of money or effort. Gaga and Lana were pretty spoiled tho.