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By Jonathan Stempel NEW YORK (Reuters) -Justin Baldoni asked a U.S. judge to dismiss Blake Lively's lawsuit accusing the actor of sexually harassing and waging a smear campaign against her in connection with their 2024 movie "It Ends With Us." In a Thursday court filing, lawyers for Baldoni said he resolved Lively's concerns about sporadic misunderstandings and "awkward comments" on the set of the film, including over her physical appearance, as soon as she raised them. They also said Baldoni had a right to hire a crisis management firm to defend his reputation after Lively began disparaging him publicly. "This is a dispute about Hollywood reputations, not genuine legal wrongs," the lawyers for Baldoni and his Wayfarer Studios said in the Manhattan federal court filing. "No reasonable juror could find that the handful of comments and miscommunications Lively has mustered amounts to sexual harassment," they added. "That Lively's reputation may have suffered is a result of her own ill-advised public statements and actions." Lawyers for Lively did not immediately respond to requests for comment. She and Baldoni co-starred in "It Ends With Us," which Baldoni also directed. Despite mixed reviews it grossed more than $351 million worldwide according to Box Office Mojo. JUDGE WARNED PARTIES TO TONE IT DOWN The acrimonious dispute burst into public view last December when Lively filed a complaint against Baldoni with the California Civil Rights Department, followed by her lawsuit. It has at times transfixed Hollywood and even involved superstar singer Taylor Swift, a friend of Lively's who Baldoni wanted to question under oath. The acrimony also annoyed U.S. District Judge Lewis Liman, who in August threatened all parties in the case with contempt unless the "intemperate language and personal attacks" stopped. Rhetoric has since been toned down. In her complaint, Lively accused Baldoni and Wayfarer of pursuing a "carefully crafted, coordinated, and resourced retaliatory scheme to silence her, and others, from speaking out about the hostile environment" they created. She is seeking unspecified damages for alleged harassment, invasion of privacy and violations of federal and state civil rights laws. A trial is scheduled for March 2026. In June, Liman dismissed Baldoni's $400 million defamation lawsuit against Lively, saying Baldoni didn't show that Lively made defamatory statements outside her California complaint, which was protected by privilege. The judge also dismissed a claim that Lively, with help from her husband Ryan Reynolds, extorted Baldoni by refusing to promote the film unless she got more creative control. Baldoni decided in October not to refile. Liman also dismissed Baldoni's $250 million defamation case against the New York Times, which wrote about the dispute. (Reporting by Jonathan Stempel in New York; Editing by Howard Goller)

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By Lisa Richwine and Dawn Chmielewski LOS ANGELES (Reuters) -Walt Disney signaled on Thursday it was girding for a potentially prolonged fight with YouTube TV over distribution of its television networks, worrying investors about the outlook for its already declining TV business. The company also missed quarterly revenue expectations as the cable weakness overshadowed strong growth in the company's streaming and parks businesses central to its growth. Shares were down 8.3% in afternoon trading Thursday. On a post-earnings call, Chief Financial Officer Hugh Johnston told analysts Disney has "built a hedge" into its forecasts assuming the negotiations could drag on. Disney's networks disappeared from YouTube TV – the fourth-largest pay-TV provider in the U.S. with about 10 million subscribers – on October 30 in the latest carriage rights dispute between the Alphabet unit and a major media company. NBCUniversal also had a similar dispute with YouTube TV earlier this year. "Disney is reducing its reliance upon cable companies to distribute its channels. But cutting out video distributors will take time," said Emarketer senior analyst Ross Benes. "YouTube TV is one of the leading cable TV providers, so its absence is a big hole for sports fans." Morgan Stanley analysts estimate a 14-day blackout on YouTube TV would cost Disney about $60 million in revenue. The tense discussions underscore YouTube TV's rapid growth as well as Google's vast financial resources, which give it greater leverage in negotiations with media companies. "The deal that we have proposed is equal to or better than what other large distributors have already agreed to," Disney CEO Bob Iger said, referring to the talks with YouTube TV. Iger's current contract expires at the end of 2026; Disney is expected to name his successor early next year. "And while we've been working tirelessly to close this deal and restore our channel to the platform, it's also imperative that we make sure that we agree with a deal that reflects the value that we deliver, which both YouTube, by the way, and Alphabet have told us is greater than the value of any other provider." Disney's quarterly revenue was comparable to a year ago at $22.5 billion but shy of the $22.75 billion analyst forecast. Profit at the traditional television unit declined 21% to $391 million, and income from ESPN slipped too, offsetting other divisions including streaming, where earnings rose 39% to $352 million. Disney has invested more in streaming and its parks to offset the industry-wide decline of traditional broadcast and cable TV. BUYBACK, DIVIDEND GET A BOOST The media and entertainment giant said it would to boost its dividend by 50% to $1.50 a share, and double its share buyback plan to $7 billion for fiscal 2026. It posted adjusted earnings per share of $1.11 for the September-end quarter, down 3% from a year earlier but 6 cents above the average LSEG estimate. Profit rose in Disney's theme parks unit to $1.88 billion, up 13% from a year ago, partially from an expansion of the U.S. cruise ship business and growth at Disneyland Paris. Disney said it added 12.5 million subscribers to Disney+ and Hulu during the quarter, reaching a total of 196 million.  A new distribution deal with cable and broadband provider Charter Communications helped draw new streaming customers, Johnston told Reuters. Operating income at the entertainment division slumped by more than a third to $691 million after this year's films failed to match the success of last year's hits "Inside Out 2" and "Deadpool & Wolverine."  Iger said Disney has had conversations with artificial intelligence companies as it looks for ways to use AI technology while still protecting its characters and stories. He said the company is exploring how to use AI to allow Disney+ subscribers to create short-form content. "There's phenomenal opportunities to deploy AI across our direct to consumer platforms," said Iger, "both to provide tools that make the platforms more dynamic and more sticky with consumers, but also to give consumers the opportunity to create on our platforms." (Reporting by Lisa Richwine; additional reporting by Jaspreet Singh; Editing by Sonali Paul, Arun Koyyur and Nick Zieminski)

(The article has been published through a syndicated feed. Except for the headline, the content has been published verbatim. Liability lies with original publisher.)

By Jonathan Stempel NEW YORK (Reuters) -Justin Baldoni asked a U.S. judge to dismiss Blake Lively's lawsuit accusing the actor of sexually harassing and waging a smear campaign against her in connection with their 2024 movie "It Ends With Us." In a Thursday court filing, lawyers for Baldoni said he resolved Lively's concerns about sporadic misunderstandings and "awkward comments" on the set of the film, including over her physical appearance, as soon as she raised them. They also said Baldoni had a right to hire a crisis management firm to defend his reputation after Lively began disparaging him publicly. "This is a dispute about Hollywood reputations, not genuine legal wrongs," the lawyers for Baldoni and his Wayfarer Studios said in the Manhattan federal court filing. "No reasonable juror could find that the handful of comments and miscommunications Lively has mustered amounts to sexual harassment," they added. "That Lively's reputation may have suffered is a result of her own ill-advised public statements and actions." Lawyers for Lively did not immediately respond to requests for comment. She and Baldoni co-starred in "It Ends With Us," which Baldoni also directed. Despite mixed reviews it grossed more than $351 million worldwide according to Box Office Mojo. JUDGE WARNED PARTIES TO TONE IT DOWN The acrimonious dispute burst into public view last December when Lively filed a complaint against Baldoni with the California Civil Rights Department, followed by her lawsuit. It has at times transfixed Hollywood and even involved superstar singer Taylor Swift, a friend of Lively's who Baldoni wanted to question under oath. The acrimony also annoyed U.S. District Judge Lewis Liman, who in August threatened all parties in the case with contempt unless the "intemperate language and personal attacks" stopped. Rhetoric has since been toned down. In her complaint, Lively accused Baldoni and Wayfarer of pursuing a "carefully crafted, coordinated, and resourced retaliatory scheme to silence her, and others, from speaking out about the hostile environment" they created. She is seeking unspecified damages for alleged harassment, invasion of privacy and violations of federal and state civil rights laws. A trial is scheduled for March 2026. In June, Liman dismissed Baldoni's $400 million defamation lawsuit against Lively, saying Baldoni didn't show that Lively made defamatory statements outside her California complaint, which was protected by privilege. The judge also dismissed a claim that Lively, with help from her husband Ryan Reynolds, extorted Baldoni by refusing to promote the film unless she got more creative control. Baldoni decided in October not to refile. Liman also dismissed Baldoni's $250 million defamation case against the New York Times, which wrote about the dispute. (Reporting by Jonathan Stempel in New York; Editing by Howard Goller)

(The article has been published through a syndicated feed. Except for the headline, the content has been published verbatim. Liability lies with original publisher.)

By Jonathan Stempel NEW YORK (Reuters) -Justin Baldoni asked a U.S. judge to dismiss Blake Lively's lawsuit accusing the actor of sexually harassing and waging a smear campaign against her in connection with their 2024 movie "It Ends With Us." In a Thursday court filing, lawyers for Baldoni said he resolved Lively's concerns about sporadic misunderstandings and "awkward comments" on the set of the film, including over her physical appearance, as soon as she raised them. They also said Baldoni had a right to hire a crisis management firm to defend his reputation after Lively began disparaging him publicly. "This is a dispute about Hollywood reputations, not genuine legal wrongs," the lawyers for Baldoni and his Wayfarer Studios said in the Manhattan federal court filing. "No reasonable juror could find that the handful of comments and miscommunications Lively has mustered amounts to sexual harassment," they added. "That Lively's reputation may have suffered is a result of her own ill-advised public statements and actions." Lawyers for Lively did not immediately respond to requests for comment. She and Baldoni co-starred in "It Ends With Us," which Baldoni also directed. Despite mixed reviews it grossed more than $351 million worldwide according to Box Office Mojo. JUDGE WARNED PARTIES TO TONE IT DOWN The acrimonious dispute burst into public view last December when Lively filed a complaint against Baldoni with the California Civil Rights Department, followed by her lawsuit. It has at times transfixed Hollywood and even involved superstar singer Taylor Swift, a friend of Lively's who Baldoni wanted to question under oath. The acrimony also annoyed U.S. District Judge Lewis Liman, who in August threatened all parties in the case with contempt unless the "intemperate language and personal attacks" stopped. Rhetoric has since been toned down. In her complaint, Lively accused Baldoni and Wayfarer of pursuing a "carefully crafted, coordinated, and resourced retaliatory scheme to silence her, and others, from speaking out about the hostile environment" they created. She is seeking unspecified damages for alleged harassment, invasion of privacy and violations of federal and state civil rights laws. A trial is scheduled for March 2026. In June, Liman dismissed Baldoni's $400 million defamation lawsuit against Lively, saying Baldoni didn't show that Lively made defamatory statements outside her California complaint, which was protected by privilege. The judge also dismissed a claim that Lively, with help from her husband Ryan Reynolds, extorted Baldoni by refusing to promote the film unless she got more creative control. Baldoni decided in October not to refile. Liman also dismissed Baldoni's $250 million defamation case against the New York Times, which wrote about the dispute. (Reporting by Jonathan Stempel in New York; Editing by Howard Goller)

(The article has been published through a syndicated feed. Except for the headline, the content has been published verbatim. Liability lies with original publisher.)

By Timour Azhari and Mohammed Benmansour RIYADH (Reuters) -Cristiano Ronaldo. Naomi Campbell. Sofia Vergara. And the latest celebrity brought to Saudi Arabia in the kingdom's push to become a global entertainment destination: MrBeast, the most popular YouTuber on the planet. The online sensation hit 100 billion views this month and is in Riyadh to launch Beast Land, a theme park modelled on his videos that put people through elaborate endurance challenges to win large cash prizes. "It's probably one of the best days of my life," the 27-year-old, whose real name is James Donaldson, told Reuters ahead of the launch on Thursday, in one of at least nine interviews conducted as part of his Saudi PR blitz. "One of the top requests I get is: I want to be in a MrBeast video… So now (we are) creating that in real life where you guys can come visit it and experience what it is like," he said. CHANGING TIMES IN ONCE ULTRA-CONSERVATIVE KINGDOM Over the past decade, once ultra-conservative Saudi Arabia has rapidly developed entertainment options as part of Crown Prince Mohammed bin Salman's Vision 2030 to diversify the country away from oil and transform society. Young Saudis grew up with few avenues for fun, with cinemas and concerts effectively banned. Outsiders saw the kingdom as stuck in time. Both perceptions have shifted. The Saudi capital is now the scene of Riyadh Season, running almost half the year with near-daily events from boxing and slap contests to house music parties and sports competitions. Lit up in neon-blue, Beast Land combines theme park attractions like rollercoasters with Donaldson's American Gladiator-style challenges, such as a game where the last player to slap a button when it lights up falls to cushioned doom. Donaldson says 70% of his fans are outside the U.S. and Saudi Arabia was also a natural choice due to easily accessible studio space to film his latest season of videos. "I'd say give it a try, it's much more developed than you'd think," he said. The kingdom has been known to attract international talent with massive compensation: Cristiano Ronaldo's contract with Saudi Arabia's Al Nassr is estimated to be worth more than $200 million. MrBeast has at times stirred controversy, with Mexico in May filing suit against a firm they say worked with him after he produced a video at the nation's ancient Maya pyramids. (Reporting by Timour Azhari Editing by Alex Richardson)

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By Rollo Ross and Danielle Broadway LOS ANGELES (Reuters) -In the film “Jay Kelly,” opening in limited release Friday, George Clooney plays the charismatic title character whose entourage — manager, publicist, glam team, security, and assistants — depend on his success for their livelihood. "It becomes an industry, basically," Clooney told Reuters, noting that his character in the film shows how easy it is to be consumed by Hollywood culture. Clooney added that he has managed to avoid the pitfalls of working too much that his character Jay falls into. "It's easy to get sucked in,” the “Gravity” actor said. "You have to be an active participant in who you are and what you do, right? So, you have to say, ‘Well, no, I don't need that and I don't want that.’ You have to actively say no or things kind of get brought in," he explained. "I've always had a sort of healthy understanding of how I want to be perceived and how I'd like to live my life.” The film, directed by Noah Baumbach and distributed by Netflix, follows actor Jay Kelly as he confronts his past and present with his loyal manager Ron, played by Adam Sandler. Other cast members include Laura Dern and Billy Crudup. The film shows numerous flashbacks in Jay's life, including those illustrating his regrets and fears. "It was more just about playing a character and trying to find a way to make it that you could still root for him when he does some pretty crappy things along the way,” Clooney, 64, said. While Jay must come to terms with his focus on accolades over his friends, Clooney said he isn’t driven by fame and fortune. "I always just feel like your job is to serve the material. That's what your job is, and if it's good material, you'll be good at it. If it's not good material, you'll be bad at it. So, my job has always been to do that. So, I don't worry about the rest of it too much," he said. (Reporting by Rollo Ross and Danielle Broadway; editing by Patricia Reaney)

(The article has been published through a syndicated feed. Except for the headline, the content has been published verbatim. Liability lies with original publisher.)

By Timour Azhari and Mohammed Benmansour RIYADH (Reuters) -Cristiano Ronaldo. Naomi Campbell. Sofia Vergara. And the latest celebrity brought to Saudi Arabia in the kingdom's push to become a global entertainment destination: MrBeast, the most popular YouTuber on the planet. The online sensation hit 100 billion views this month and is in Riyadh to launch Beast Land, a theme park modelled on his videos that put people through elaborate endurance challenges to win large cash prizes. "It's probably one of the best days of my life," the 27-year-old, whose real name is James Donaldson, told Reuters ahead of the launch on Thursday, in one of at least nine interviews conducted as part of his Saudi PR blitz. "One of the top requests I get is: I want to be in a MrBeast video… So now (we are) creating that in real life where you guys can come visit it and experience what it is like," he said. CHANGING TIMES IN ONCE ULTRA-CONSERVATIVE KINGDOM Over the past decade, once ultra-conservative Saudi Arabia has rapidly developed entertainment options as part of Crown Prince Mohammed bin Salman's Vision 2030 to diversify the country away from oil and transform society. Young Saudis grew up with few avenues for fun, with cinemas and concerts effectively banned. Outsiders saw the kingdom as stuck in time. Both perceptions have shifted. The Saudi capital is now the scene of Riyadh Season, running almost half the year with near-daily events from boxing and slap contests to house music parties and sports competitions. Lit up in neon-blue, Beast Land combines theme park attractions like rollercoasters with Donaldson's American Gladiator-style challenges, such as a game where the last player to slap a button when it lights up falls to cushioned doom. Donaldson says 70% of his fans are outside the U.S. and Saudi Arabia was also a natural choice due to easily accessible studio space to film his latest season of videos. "I'd say give it a try, it's much more developed than you'd think," he said. The kingdom has been known to attract international talent with massive compensation: Cristiano Ronaldo's contract with Saudi Arabia's Al Nassr is estimated to be worth more than $200 million. MrBeast has at times stirred controversy, with Mexico in May filing suit against a firm they say worked with him after he produced a video at the nation's ancient Maya pyramids. (Reporting by Timour Azhari Editing by Alex Richardson)

(The article has been published through a syndicated feed. Except for the headline, the content has been published verbatim. Liability lies with original publisher.)

By Danielle Broadway LOS ANGELES (Reuters) -When director Alex Woo pitched the animated Netflix film "In Your Dreams" to actor Simu Liu, Liu was fascinated by the opportunity to show a real family that argues. "The way that families are depicted, especially to a lot of children, is this idea that families are always happy, always smiling. They never fight. And it's just not true," said Liu, the China-born Canadian star of Marvel movie "Shang-Chi" in 2021. "I think it's important that kids have imagery of families that aren't perfect." "In Your Dreams" opens in theaters on Friday. The adventure-comedy film was animated by Sony Pictures Imageworks. Director Woo started as a storyboard artist at legendary animation studio Pixar and worked on films like "Ratatouille," "WALL·E" and "Cars 2." The plot centers on the journey of sister Stevie, voiced by Jolie Hoang-Rappaport, and brother Elliot, voiced by Elias Janssen, in search of The Sandman, who can magically save their parents' marriage. Emmy winner Cristin Milioti as Mom and “The Office” actor Craig Robinson as the stuffed animal Baloney Tony round out the voice cast. Milioti, who won a Grammy for the album "Once," said her duet with Liu, on a song that shows the strained couple in harmony, was a highlight. “I think that song is really great and it is such a beautiful moment in the film too,” she said. Hoang-Rappaport's character grapples with the discovery that there is no magic solution to real-life problems. Stevie thinks, "I can fix this on my own and everything can be fixed…I can keep my family together," the teen actor said. But Stevie's journey ends with the same truth Liu wanted to show: Real families fight, and fixing things takes more than a dream. Life does not always go the way that people plan. (Reporting by Danielle Broadway and Rollo Ross; Editing by Cynthia Osterman)

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By Lisa Richwine and Dawn Chmielewski LOS ANGELES (Reuters) -Walt Disney signaled on Thursday it was girding for a potentially prolonged fight with YouTube TV over distribution of its television networks, worrying investors about the outlook for its already declining TV business and pushing its shares down 8%. The company also missed quarterly revenue expectations as the cable weakness overshadowed strong growth in the company's streaming and parks businesses that powered a profit beat. On a post-earnings call, Chief Financial Officer Hugh Johnston told analysts Disney has "built a hedge" into its forecasts assuming the negotiations could drag on. Disney's networks disappeared from YouTube TV – the fourth-largest pay-TV provider in the U.S. with about 10 million subscribers – on October 30 in the latest carriage rights dispute between the Alphabet unit and a major media company. NBCUniversal also had a similar dispute with YouTube TV earlier this year. "Ultimately, the losers are users," said PP Foresight analyst Paolo Pescatore. Morgan Stanley analysts estimate a 14-day blackout on YouTube TV would cost Disney about $60 million in revenue. The tense discussions underscore YouTube TV's rapid growth as well as Google's vast financial resources, which give it greater leverage in negotiations with media companies. "The deal that we have proposed is equal to or better than what other large distributors have already agreed to," Disney CEO Bob Iger said, referring to the talks with YouTube TV. "And while we've been working tirelessly to close this deal and restore our channel to the platform, it's also imperative that we make sure that we agree with a deal that reflects the value that we deliver, which both YouTube, by the way, and Alphabet have told us is greater than the value of any other provider." BUYBACK, DIVIDEND BOOST The media and entertainment giant also unveiled plans to boost its dividend by 50% and double its share buyback plan for fiscal 2026. It posted adjusted earnings per share of $1.11 for its fourth quarter ending in September, a 3% decline from a year earlier but 6 cents above an average LSEG estimate. Profit rose in Disney's theme parks unit, partially from an expansion of the U.S. cruise ship business and growth at Disneyland Paris. Earnings at its streaming business surged 39% to $352 million. Disney said it added 12.5 million subscribers to Disney+ and Hulu during the quarter, reaching a total of 196 million.  A new distribution deal with cable and broadband provider Charter Communications helped draw new streaming customers, Chief Financial Officer Hugh Johnston told Reuters. Box office smash "Lilo & Stitch" debuted on Disney+ during the quarter and racked up 14.3 million views in its first five days, he said. Disney has been remaking itself to adjust to the industry-wide decline of traditional broadcast and cable TV. It has invested in new theme park attractions and cruise ships and worked to lure subscribers to its streaming services. Iger told investors Disney has had productive conversations with artificial intelligence companies, as it seeks to protect its characters and stories and looks for ways to use the technology. He said the company is exploring ways of using AI to allow Disney+ subscribers to create short-form, user-generated content. "There's phenomenal opportunities to deploy AI across our direct to consumer platforms," said Iger, "both to provide tools that make the platforms more dynamic and more sticky with consumers, but also to give consumers the opportunity to create on our platforms." Iger undertook aggressive cost-cutting when he returned to Disney in 2022. His current contract expires at the end of 2026, and Disney has said it will name Iger's successor early next year. TRADITIONAL TV DECLINE Thursday's earnings report reflected a continued slide in television fees and advertising revenue, but the company projected confidence in the next two years.  Disney forecast double-digit adjusted EPS growth for fiscal 2026, in line with its previous forecast. The company also said it expected double-digit adjusted EPS growth for fiscal 2027.  The company's board declared a dividend of $1.50 per share, up from $1 a share, and doubled its stock buyback to $7 billion in fiscal 2026. In the just-ended quarter, Disney's revenue was comparable to a year ago at $22.5 billion but shy of the $22.75 billion analyst forecast. Operating income at the entertainment division slumped by more than a third to $691 million after this year's films failed to match the success of last year's hits "Inside Out 2" and "Deadpool & Wolverine."  Profit at the traditional television unit declined 21% to $391 million, and income from ESPN slipped too. The experiences unit that includes theme parks posted operating income of $1.88 billion, up 13% from a year ago. Part of the growth came from more passenger days on Disney cruise ships, the company said. "This was another year of great progress as we strengthened the company by leveraging the value of our creative and brand assets and continued to make meaningful progress in our direct-to-consumer businesses," Iger said in a statement. (Reporting by Lisa Richwine; Editing by Sonali Paul, Arun Koyyur and Nick Zieminski)

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(Corrects paragraph 4 to remove reference to NBCUniversal content going briefly dark on YouTube TV) By Lisa Richwine and Dawn Chmielewski LOS ANGELES (Reuters) -Walt Disney signaled on Thursday it was girding for a potentially prolonged fight with YouTube TV over distribution of its television  channels, worrying investors about the outlook for its already declining TV business and pushing its shares down 6.6%. The company also missed quarterly revenue expectations as the cable weakness overshadowed strong growth in the company's streaming and parks businesses that powered a profit beat. On a post-earnings call, Chief Financial Officer Hugh Johnston told analysts Disney has "built a hedge" into its forecasts assuming the negotiations could drag on. Disney's networks disappeared from YouTube TV – the fourth-largest pay-TV provider in the U.S. with about 10 million subscribers – on October 30 in the latest carriage rights dispute between the Alphabet unit and a major media company. NBCUniversal also had a similar dispute with YouTube TV earlier this year. Morgan Stanley analysts estimate a 14-day blackout on YouTube TV would cost Disney about $60 million in revenue. The tense discussions underscore YouTube TV's rapid growth as well as Google's vast financial resources, which give it greater leverage in negotiations with media companies. "The deal that we have proposed is equal to or better than what other large distributors have already agreed to," Disney CEO Bob Iger said, referring to the talks with YouTube TV. "And while we've been working tirelessly to close this deal and restore our channel to the platform, it's also imperative that we make sure that we agree with a deal that reflects the value that we deliver, which both YouTube, by the way, and Alphabet have told us is greater than the value of any other provider." BUYBACK, DIVIDEND BOOST The media and entertainment giant also unveiled plans to boost its dividend by 50% and double its share buyback plan for fiscal 2026. It posted adjusted earnings per share of $1.11 for its fourth quarter ending in September, a 3% decline from a year earlier but 6 cents above an average LSEG estimate. Profit rose in Disney's theme parks unit, partially from an expansion of the U.S. cruise ship business and growth at Disneyland Paris. Earnings at its streaming business surged 39% to $352 million. Disney said it added 12.5 million subscribers to Disney+ and Hulu during the quarter, reaching a total of 196 million.  A new distribution deal with cable and broadband provider Charter Communications helped draw new streaming customers, Chief Financial Officer Hugh Johnston told Reuters. Box office smash "Lilo & Stitch" debuted on Disney+ during the quarter and racked up 14.3 million views in its first five days, he said. Disney has been remaking itself to adjust to the industry-wide decline of traditional broadcast and cable TV. It has invested in new theme park attractions and cruise ships and worked to lure subscribers to its streaming services. CEO Bob Iger undertook aggressive cost-cutting when he returned to Disney in 2022. His current contract expires at the end of 2026, and Disney has said it will name Iger's successor early next year. TRADITIONAL TV DECLINE Thursday's earnings report reflected a continued slide in television fees and advertising revenue, but the company projected confidence in the next two years.  Disney forecast double-digit adjusted EPS growth for fiscal 2026, in line with its previous forecast. The company also said it expected double-digit adjusted EPS growth for fiscal 2027.  The company's board declared a dividend of $1.50 per share, up from $1 a share, and doubled its stock buyback to $7 billion in fiscal 2026. In the just-ended quarter, Disney's revenue was comparable to a year ago at $22.5 billion but shy of the $22.75 billion analyst forecast. Operating income at the entertainment division slumped by more than a third to $691 million after this year's films failed to match the success of last year's hits "Inside Out 2" and "Deadpool & Wolverine."  Profit at the traditional television unit declined 21% to $391 million, and income from ESPN slipped too. The experiences unit that includes theme parks posted operating income of $1.88 billion, up 13% from a year ago. Part of the growth came from more passenger days on Disney cruise ships, the company said. "This was another year of great progress as we strengthened the company by leveraging the value of our creative and brand assets and continued to make meaningful progress in our direct-to-consumer businesses," Iger said in a statement. (Reporting by Lisa Richwine; Editing by Sonali Paul, Arun Koyyur and Nick Zieminski)

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