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Speaker 1: Welcome to Strictly Business, Variety's weekly podcasts featuring conversations with

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Speaker 1: industry leaders about the business of entertainment. I'm Cynthia Littleton,

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Speaker 1: Business editor of Variety Today. My guest is Dana Walden,

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Speaker 1: chairman of Disney Television Studios and ABC Entertainment. Dana was

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Speaker 1: already one of the industry's most powerful television executives when

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Speaker 1: she was co head of Fox Television Group prior to

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Speaker 1: Disney's acquisition of twenty century Fox. Now she's leading the

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Speaker 1: charge for Disney in primetime series production, and she's steering

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Speaker 1: the ship at ABC. Walden made her first public remarks

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Speaker 1: since she moved to Disney in a Q and A

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Speaker 1: with Me in Los Angeles that was held as part

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Speaker 1: of Variety's annual TV Summit on June twelve. Here, Walden

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Speaker 1: offers insights into how Disney is managing what she described

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Speaker 1: as television existential crisis. She was candid about the challenges

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Speaker 1: ahead traditional media, and she spoke from the heart about

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Speaker 1: the importance of maintaining a healthy workplace culture in the

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Speaker 1: post me too era. Thank you, Dana for your time.

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Speaker 1: Of course, I thought that was weird where my team

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Speaker 1: wasn't even clapping. I'm like, just happened. Judging by that reel,

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Speaker 1: you have a lot going on. Yeah, yeah, a lot

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Speaker 1: of good stuff. I'm so proud of that reel. Absolutely, Um,

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Speaker 1: let's talk about let's talk about Obviously, it's been a

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Speaker 1: historic period for the industry for Disney. The acquisition of

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Speaker 1: Century Fox, after a long run, was finally complete in March.

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Speaker 1: During that process, I know you had no shortage of

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Speaker 1: options for what your next move might have been. Why

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Speaker 1: did you say yes to Disney? Well, I would say,

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Speaker 1: I mean, I don't want to be a flip or

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Speaker 1: cavalier about it. It was really a no brainer for me. Um,

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Speaker 1: I really, you know, being a part of this industry

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Speaker 1: over the past five years and seeing the incredibly dynamic

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Speaker 1: change and the disruption to our business. You know, my

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Speaker 1: fantasy and my dream was to be at a company

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Speaker 1: that was really about creativity and storytelling, but one that

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Speaker 1: was also oriented towards the future. And I feel like

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Speaker 1: that's exactly where I've ended. When you have, you know,

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Speaker 1: just an extraordinary visionary leader like Bob Iger who looks

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Speaker 1: at what I think can be described as a kind

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Speaker 1: of existential crisis for traditional media companies and you have

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Speaker 1: two choices in that situation. You can put your head

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Speaker 1: in the sand. And I think we've seen some of

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Speaker 1: our competitors do that, or we've also seen people kind

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Speaker 1: of dip atou in the water and start you know,

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Speaker 1: sort of very specific smaller streaming companies. And it just

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Speaker 1: felt like, you know, in those circumstance dances for Bob

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Speaker 1: to just take this enormous step and acquire Fox at

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Speaker 1: you know, quite a number, and just make a declaration

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Speaker 1: about taking this beloved company about characters and storytellers and

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Speaker 1: just putting them into the future. And you know, when

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Speaker 1: I looked around and thought about companies which are fundamentally

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Speaker 1: the phone company, a cable company, a retail company, um

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Speaker 1: companies where the tech started the businesses and then the

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Speaker 1: creativity was acquired culturally, I think those companies are always

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Speaker 1: going to be very different from a company that's been

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Speaker 1: about storytelling for almost a hundred years and all started

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Speaker 1: by a mouse. As I said, absolutely, let me ask

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Speaker 1: you in the in the process of you know, making

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Speaker 1: that decision, and and once you were you know, once

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Speaker 1: once the street was you know, was surprised to learn

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Speaker 1: that the Murdocks were you know, considering open to considering

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Speaker 1: a sale? Did during that period? Did did the changes

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Speaker 1: in the industry did they crystallize in your mind in

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Speaker 1: a different way when you knew that, you know, Fox,

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Speaker 1: which was you know, I mean it was such a

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Speaker 1: shock because it was such a robust business rouper. It

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Speaker 1: was a buyer, not a seller. Was that did you

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Speaker 1: did you? Was that process a learning process for what

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Speaker 1: you just described, like where you see the company going,

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Speaker 1: I'm sorry, the industry going, yeah, no question. And you know,

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Speaker 1: I think Rupert disrupted again. I mean, I think the

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Speaker 1: narrative around is he a buyer or a seller? You know,

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Speaker 1: he was a buyer at the time that people weren't

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Speaker 1: acquiring you know, enormous station groups, or buying a studio,

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Speaker 1: or launching a competitor to the broadcast networks, or acquiring

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Speaker 1: the NFL on a pretty spectacular scale. That was disruptive

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Speaker 1: at that time. I think what was disruptive, you know,

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Speaker 1: in two thousand eighteen was him making an extraordinary deal

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Speaker 1: to sell his company. And I do I do feel

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Speaker 1: like our company got the benefit of seeing what the

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Speaker 1: shortcomings are of the various streaming competitors. You know, what

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Speaker 1: we can do that might be better, and again doing

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Speaker 1: it at a scale that's kind of undeniable. This is

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Speaker 1: going or is now arguably the biggest content company in

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Speaker 1: the business, with you know, the second largest streaming platform

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Speaker 1: in the business, with an incredibly robust plan to launch

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Speaker 1: Disney Plus, which is you know you, I'm sure you're

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Speaker 1: at investor Day and you just saw this incredible collection

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Speaker 1: of beloved brands and content and original program I mean again,

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Speaker 1: situated really to win and having the ability to look at,

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Speaker 1: you know, some of the missteps of our competitors. All

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Speaker 1: of those things came together relatively quickly, but they all

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Speaker 1: made great sense. And uh yeah, that's a long way

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Speaker 1: of saying, yes, I think we did learn a lot

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Speaker 1: in those eighteen months when you saw when you saw

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Speaker 1: the investor Day and also the upfront, when you saw

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Speaker 1: those that just the sheer amount of brands and I

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Speaker 1: P together it really it really made sense when you

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Speaker 1: sort of visually saw it and and you look at

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Speaker 1: all that and you realize that Disney owns every bit

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Speaker 1: of it. It's not going to walk away in five

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Speaker 1: years when the license runs out. Right, it's enormously impressive,

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Speaker 1: is it almost daunting? You have so much, so much

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Speaker 1: to work front, so much to choose from. No, I

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Speaker 1: am exhilarated. I feel so excited every day when I

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Speaker 1: go to work. I feel like, you know, when you

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Speaker 1: look across the company and both the platforms and the studios,

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Speaker 1: the amount of creativity um the value proposition to great

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Speaker 1: creators to come and make their home at our company

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Speaker 1: is extraordinary. And you know, I wish there were a

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Speaker 1: few more hours in the day because it does make

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Speaker 1: it hard to be able to see everything. But you

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Speaker 1: know what, that's really not my job. My job is

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Speaker 1: to make sure that I'm seeing enough, but that I

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Speaker 1: have the right you know, business leaders in place who

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Speaker 1: are managing the various areas you know where I am working.

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Speaker 1: Craig Huntinggs is here right now, who's now overseeing all

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Speaker 1: of our studios, business Wendy McMahon who runs the own

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Speaker 1: TV stations, Carry Burke, who's just recently stepped in to

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Speaker 1: run a v C. And Tom Asheim who's running free Form.

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Speaker 1: You know, my job now is more about making sure

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Speaker 1: you know best players are on the field than being

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Speaker 1: in the weeds and feeling like I have to, you know,

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Speaker 1: somehow touch every show that's coming out of our company, right,

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Speaker 1: you gotta read five more scripts before you go to bed. Yeah, gotcha.

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Speaker 1: How did you so when you decided to say yes?

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Speaker 1: And when you how did you? What was the process

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Speaker 1: of deciding how you were going to organize things? Because

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Speaker 1: I think there was a lot of speculation, including in

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Speaker 1: my stories, there was speculation that you would you would

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Speaker 1: collapse the very large twenty century Fox TV operation in

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Speaker 1: an ABC studios into one large division. You have not

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Speaker 1: done that. You've you've kept twenty distinct. You've kept Fox

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Speaker 1: twenty one Television Studios distinct and ABC Studios distinct. How

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Speaker 1: did you come to that structure? Yeah, that was a

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Speaker 1: lot of Um. The benefit of the period of time

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Speaker 1: we had while the transaction was going through the various

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Speaker 1: regulatory processes around the world was we had the opportunity

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Speaker 1: to really think about what was in the best interest

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Speaker 1: of mostly creators and then the creative process with the

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Speaker 1: final result being the shows that we produce, and um,

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Speaker 1: you know, how we can expand our output in a

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Speaker 1: way that is most talent friendly. And Peter Rice and

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Speaker 1: I you know, along with Robbia Josiah who is his

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Speaker 1: head of business, we spent a lot of time thinking about,

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Speaker 1: you know, what's the structure that makes sense at the studios,

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Speaker 1: And ultimately where we came out was the notion of

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Speaker 1: having a horizontal structure, not trying to build one big

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Speaker 1: super studio that has a lot of layers and a

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Speaker 1: lot of process and we didn't want to funnel creatively

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Speaker 1: that started very wide and ultimately build you know, came

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Speaker 1: through just a small number of creative filters. So what

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Speaker 1: we have now with each of these studios is we

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Speaker 1: have president level executives and then we have very high

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Speaker 1: level executives in every critical area in business affairs, in production,

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Speaker 1: in casting, in our creative affairs areas. And we feel

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Speaker 1: like contracting those businesses would have by definition, given us

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Speaker 1: fewer filters, fewer opportunities to have great relationships with our creators,

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Speaker 1: and that we were building a bureaucratic organization, and that's

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Speaker 1: the opposite of what we wanted mm HM tru UM

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Speaker 1: and in in a sort of assembling the components of

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Speaker 1: the division that you run UM. Of course, you know,

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Speaker 1: content licensing is now such an engine for all of

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Speaker 1: the media companies. You know, there's almost I think you

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Speaker 1: can say that there's more monetization, pure monetization that goes

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Speaker 1: off goes on off of ABC's air or freeforms air

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Speaker 1: than in that you know that that first run airing.

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Speaker 1: How much would you say that your folks is on

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Speaker 1: the you know, feeding the networks, programming the networks, versus

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Speaker 1: thinking about things that can either feed Disney Plus, whether

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Speaker 1: originals or or going downstream down the road to a

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Speaker 1: Disney to Disney Plus or the you know what we

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Speaker 1: expect to see kind of a reimagined Hulu in the

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Speaker 1: near future. I guess how much of your focus is

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Speaker 1: on the network itself, that first run experience versus the

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Speaker 1: long tail of the content that you're producing out of

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Speaker 1: your many labels. Well, you know, I think they all,

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Speaker 1: all of the pieces all come together. I don't think

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Speaker 1: it's you know, UM, I don't think you can separate

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Speaker 1: how you think about that. You know, what we're thinking

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Speaker 1: about right now is making sure we get the right

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Speaker 1: shows to the right platforms. And because the initial exhibition

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Speaker 1: is where a show is going to be marketed. It's

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Speaker 1: particularly when you talk about UM ABC, which has this

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Speaker 1: extraordinary reach still you know, a hundred and forty five

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Speaker 1: you know viewers, a week a million viewers a week

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Speaker 1: that are UM watching broadcast television. So what we're thinking

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Speaker 1: about at this stage is we're definitely starting to look

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Speaker 1: at our platforms in more of a closed ecosystem. I

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Speaker 1: think that's just the reality of our business right now.

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Speaker 1: All of the bigger media companies right now are facing

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Speaker 1: the reality that they're going to have to more and

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Speaker 1: more supply themselves. So we're looking at, you know, best

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Speaker 1: possible content on each of our platforms is going to

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Speaker 1: have an afterlife. It's not so different from what we've

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Speaker 1: done in the past, which is UM, make a great

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Speaker 1: value proposition to creators, woo them, bring them into our ecosystem,

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Speaker 1: get them to think their biggest thoughts, help them to

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Speaker 1: curate ideas, help them to package them, get them onto

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Speaker 1: the right platform, help them to be the biggest, most

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Speaker 1: cultural defining hits that they can be, and then keep

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Speaker 1: them in our library forever where they will be distributed

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Speaker 1: over and over again, with the only difference being the

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Speaker 1: platforms that the secondary platforms are are going to exist

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Speaker 1: inside of our own company. Does that change UM, I mean,

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Speaker 1: does that change the way that you that you project

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Speaker 1: a long term value for a show? Does it change

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Speaker 1: the sort of fundamental economic basis of what you think

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Speaker 1: a drama will do or a comedy will do. If

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Speaker 1: you know it's going to stay within the kind of

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Speaker 1: a world garden. I guess it does change the economics.

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Speaker 1: You know, we are um in a closed environment. And again,

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Speaker 1: part of the the challenge and what you have to

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Speaker 1: think about is that all of these companies are be closed.

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Speaker 1: Stuff does not syndicate off of Netflix and Amazon for

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Speaker 1: the most part. Um, we have to be thinking about

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Speaker 1: a long tail in terms of how it fuels our business.

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Speaker 1: But when you think about what acquired content has done

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Speaker 1: for these various platforms, um for the growth of subscribers

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Speaker 1: and the health of that ecosystem, there are different economics,

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Speaker 1: but inside of the same organization as meaningful, but they're

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Speaker 1: shifting from how do you monetize a single piece of

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Speaker 1: content to how do you use a show to build

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Speaker 1: platforms and recruit subscribers and to prevent churn? And you know,

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Speaker 1: again we're all a little bit moving towards the same goal.

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Speaker 1: So I think the economics of the entire industry are shifting,

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Speaker 1: and this is where we are at this point. You

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Speaker 1: mentioned that that the feeling is that television is really

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Speaker 1: facing in an existential cry That sounds that sounds dramatic.

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Speaker 1: But given you know all that that we're seeing in

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Speaker 1: the all the change in the marketplace, what you know,

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Speaker 1: as you as you formulated these plans, I'm presuming in

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Speaker 1: you know, in concert with Peter Rice and Bob Iger,

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Speaker 1: what what I guess Disney Plus and the streaming push

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Speaker 1: is the response to what you see is that existential crisis? Well,

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Speaker 1: I think yeah, I mean you it's hard to imagine

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Speaker 1: a media company surviving well into the future without a

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Speaker 1: strategy that is going direct to the consumer. That's just

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Speaker 1: the reality of how an entire generation of consumers have

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Speaker 1: been taught to watch television, and we all have to

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Speaker 1: modernize and we all have to be part of evolving

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Speaker 1: our businesses. At Walt Disney Television right now, our strategy

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Speaker 1: is a little bit two fold. We have these mature,

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Speaker 1: very well established platform ms you know clearly, you know, ABC, FX,

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Speaker 1: free Form, UM and really Hulu that's now in twenty

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Speaker 1: nine million subscribers strong. But our legacy businesses are going

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Speaker 1: to help us as we pivot this company towards the

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Speaker 1: future because they are actually robust and financially very strong.

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Speaker 1: There's very meaningful revenue streams through the ad sales area

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Speaker 1: and through UM retrans that keeping those platforms strong as

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Speaker 1: our organization transitions to the future is mandatory. And that's

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Speaker 1: a little bit of what I feel is the best

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Speaker 1: case scenario that we have at Disney right now, which

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Speaker 1: is we have both. You know, we have these strong

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Speaker 1: channels that UM are sort of megaphones to consumers where

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Speaker 1: we're branding shows, and we are UM still incredible reach

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Speaker 1: vehicles for advertisers, one of the only places that an

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Speaker 1: advertiser can go to reach you know, two million people

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Speaker 1: watched live in front of a studio audience, you know,

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Speaker 1: Jimmy Kimmel and Norman Lear specially we did on ABC

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Speaker 1: about a month ago, over seven days. It was twenty

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Speaker 1: two million viewers. That's an extraordinary proposition for sponsors and advertisers,

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Speaker 1: and we're going to use those businesses again. And those

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Speaker 1: are opportunities that our competitors don't have. They actually are

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Speaker 1: competitors in the streaming space have to look to us

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Speaker 1: in certain cases to try and market their shows and

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Speaker 1: their brands, and we have this megaphone right inside our

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Speaker 1: own organization. So we have to keep them strong, we

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Speaker 1: have to keep them vital, and then we have to

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Speaker 1: keep innovating, and both tracks have to move in a

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Speaker 1: parallel manner at a hundred miles an hour towards Burbank. Yeah,

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Speaker 1: at around four fifteen in the afternoon. Um, let me

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Speaker 1: ask you, as as you know, there is a focus

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Speaker 1: at the largest companies on the internal channels. Is that

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Speaker 1: is particularly twenty century Fox Television, you know, really made

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Speaker 1: its reputation in selling everywhere. Is that? Is it fair

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Speaker 1: to say that right now you're very much focused on

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Speaker 1: the many lanes that you have to serve within Disney.

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Speaker 1: I think, you know, we're trying to be focused a

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Speaker 1: little bit on both because the reality of this exactly

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Speaker 1: exact moment in time is that, you know, as we're

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Speaker 1: developing with our creators right now, we're looking at our

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Speaker 1: seven owned platforms primarily when we have our initial conversations.

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Speaker 1: And the beauty of that is, you know, part of

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Speaker 1: what we um talk to creators about at twenty century

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Speaker 1: Fox Television was this independence, and what independence was was

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Speaker 1: being able to take every project to the right platform.

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Speaker 1: This is us was right for NBC, Glee was right

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Speaker 1: for Fox, Modern Family was right for ABC. How I

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Speaker 1: Met Your Mother was right for CBS, each of those networks.

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Speaker 1: Homeland was right for Showtime. You know, all of the

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Speaker 1: work we've done with John land Graph and his great

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Speaker 1: team were right for FX. Each of the Disney platforms

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Speaker 1: right now services, to a certain extent, a different audience.

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Speaker 1: You know, it's not as if we would spend a

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Speaker 1: lot of time debating where internally. If you had, you know,

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Speaker 1: a show that is perfect for families, that's probably gonna

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Speaker 1: be a Disney Plus show. If you have a show

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Speaker 1: that is a more y, a female leading show, that's

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Speaker 1: going to be free form. If you have something that

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Speaker 1: is more edgy in the tv M a space, that's

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Speaker 1: probably gonna go to f f X. You know, if

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Speaker 1: you have something that targets the older segment of eighteen

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Speaker 1: through forty nine, that's probably a broadcast show. You know,

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Speaker 1: we now have all of these options internally, but we

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Speaker 1: will absolutely still be supplying UM platforms outside of our

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Speaker 1: own in the near and foreseeable future. I mean, we

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Speaker 1: have a tremendous amount of production at Fox and they

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Speaker 1: are great partners, yes, and we fully intend to maintain

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Speaker 1: strong development pipeline to that company. You know, we're really

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Speaker 1: looking to them as our home away from home. You know,

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Speaker 1: still when I drive on the Fox lot because I

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Speaker 1: have an office, they're still at Fox, because our production

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Speaker 1: business is still on that lot. It feels, you know,

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Speaker 1: very much, I feel very much at home there, and

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Speaker 1: the executives in that organization, you know, from Charlie Collier,

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Speaker 1: but Michael Thorne and Charlie Andrews and that whole creative

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Speaker 1: team are people that we've worked with for a very

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Speaker 1: long time. And then we'll also take projects outside. We

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Speaker 1: have projects right now in development at Amazon. Clearly, we

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Speaker 1: have a lot right now at Hulu, which we're very

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Speaker 1: happy about. We already had developed strong inroads even prior

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Speaker 1: to the announcement of the Comcast is new deal around Hulu,

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Speaker 1: so we'll stay in business, but we're starting to orient

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Speaker 1: ourselves more towards our own platforms. Is there any kind

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Speaker 1: of you know, tribal council at some point where you

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Speaker 1: look at the development the things that have come in

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Speaker 1: and you, you know, you get the people around the

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Speaker 1: table and you think about, as you say, like, is

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Speaker 1: where is this really best positioned or is it more

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Speaker 1: of a case by case situation at each at each

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Speaker 1: network for the very granular development process. You know, I

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Speaker 1: really like for the creative process to stay pure. I

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Speaker 1: don't really believe in retrofitting it. I don't. I don't

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Speaker 1: think that's that's a route to having culturally defining con tent.

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Speaker 1: You know. I think had we, you know, if we

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Speaker 1: were designing a show, you know, for a platform, I

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Speaker 1: don't know that Modern Family would have come to be

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Speaker 1: if we said, you know, you're at Fox, You're inside

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Speaker 1: the Fox network. I mean, we always said, even when

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Speaker 1: we were just part of the Fox universe at twenty

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Speaker 1: century Fox Television, in the case of a tie, the

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Speaker 1: home team wins. And it's really am a great benefit

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Speaker 1: to be the in house studio and have the right

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Speaker 1: show for that network. But it's also a terrible situation

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Speaker 1: when you're inside a company and you've jammed a project

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Speaker 1: to assist or company when it doesn't belong there. I mean,

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Speaker 1: I think about, you know, Steve Levitan and Chris Lloyd

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Speaker 1: creating Back to You with Patricia Heaton and Kelsey Grammar,

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Speaker 1: and it ended up on Fox, and there were a

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Speaker 1: lot of internal pressures to deliver it there. And you know,

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Speaker 1: had we it cane to CVS at the time, it

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Speaker 1: would probably still be on. The error would just be

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Speaker 1: coming to an end right now. And you know, you

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Speaker 1: learn from all of those experiences, but we're not retrofitting.

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Speaker 1: We're trying. The first part of our process is what's

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Speaker 1: the best possible idea, and then we try taking that

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Speaker 1: project to the place that it can succeed in its

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Speaker 1: best form um. You know, it's it's It's very well

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Speaker 1: understood that one of the toughest things about any large integration,

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Speaker 1: of course, is the coming together of two very different cultures.

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Speaker 1: I think it's fair to say that Disney and Fox

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Speaker 1: had very You grew up in very different cultures. How

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Speaker 1: is that? How is that melding going? And I think

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Speaker 1: about the extra layer right now in our industry, there's

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Speaker 1: a lot of scrutiny. You know, this industry has been

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Speaker 1: jolted by the Me too movement. There's a lot of

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Speaker 1: scrutiny about inclusion and diversity. How are you managing all

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Speaker 1: of that on a people basis. Wow, that was a

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Speaker 1: lot of questions, as I know, and we only have

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Speaker 1: a few minutes out. Okay, let me try to sweeping cut.

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Speaker 1: How do you make how do you how do you

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Speaker 1: get the culture you want your company to have. I

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Speaker 1: actually don't think the two cultures are so different, and

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Speaker 1: that is what I've noticed as I spend more time

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Speaker 1: at Disney. These are both places that have best in

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Speaker 1: class executives throughout their organizations. UM, I would say what

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Speaker 1: I've learned personally in a short time is that, um,

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Speaker 1: at Fox, we were a little bit more siloed in

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Speaker 1: each of the different companies, you know, towards the end

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Speaker 1: twenty one century, Fox was I think a little bit

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Speaker 1: more of a holding company than it was, you know,

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Speaker 1: a corporate management for the various divisions. So UM, I'd

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Speaker 1: say the process at times was quicker, but not as thoughtful,

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Speaker 1: and there weren't the deep resources that we have now

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Speaker 1: at Disney everywhere from you know, HR, which I have

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Speaker 1: found to be an extraordinary organization at Disney of very

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Speaker 1: senior level executives who have been so thoughtful about the culture,

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Speaker 1: about welcoming the Fox executives, and we actually did a

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Speaker 1: whole day, Disney put on the whole day for the

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Speaker 1: incoming Fox team. It was an onboarding session where each

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Speaker 1: of the division heads you know, from Bob Jacob Check

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Speaker 1: at the parks to Kevin Mayer, Bob Iger started the day, UM,

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Speaker 1: Alan Bergman and Alan Horne who just sat with us

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Speaker 1: in such a thoughtful way to tell us how they

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Speaker 1: think about their business and whatever they're doing, which we've

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Speaker 1: now had some insight into their doing it really well.

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Speaker 1: And we've just all learned so much and I can

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Speaker 1: speak on behalf of all of the Fox former Fox executives.

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Speaker 1: That's been a pleasure and it's been kind of mind

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Speaker 1: blowing to see how this extraordinary global organization thinks about

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Speaker 1: all of these decisions. So culture I have found not

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Speaker 1: to be as steep an integration process as everybody likes

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Speaker 1: to talk about. UM me too, you know, really hard

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Speaker 1: uh and continues to be something we think about all

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Speaker 1: the time. And I guess I would say for myself personally,

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Speaker 1: you know, going through the past couple of years as

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Speaker 1: a senior level female executive, I've been sort of stunted,

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Speaker 1: stunned and saddened at what I thought was an organization

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Speaker 1: run by a woman would be a place where younger

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Speaker 1: women and women threat an organization would feel empowered to

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Speaker 1: step forward and um talk about conditions which are intolerable

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Speaker 1: or stand up for themselves UM and feel like they

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Speaker 1: would be supported just by virtue of the fact that

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Speaker 1: I'm sitting in the seat I am in, and that

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Speaker 1: was very naive. You know. The bottom line is having

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Speaker 1: gender balance throughout an organization is mandatory, and female executives

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Speaker 1: have to sit in every meeting in the same number

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Speaker 1: as their male counterparts, and they have to be seen

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Speaker 1: throughout the management chain. And that's a lot of what

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Speaker 1: we worked on at Fox. I actually was very proud

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Speaker 1: at the point the transaction closed of our workforce from

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Speaker 1: senior vice president down were women, and I thought that

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Speaker 1: was a good move in the right direction in terms

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Speaker 1: of inclusion and genuine diversity. We have so much more

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Speaker 1: work to be done, and you know, we just had

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Speaker 1: an incredible UM summit where we heard from a lot

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Speaker 1: of different specialists and I think just continued continuing to

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Speaker 1: think about what our processes are, what are unconscious biases are,

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Speaker 1: how to overcome them, how to create a pipeline of

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Speaker 1: creative executives and creators in our organization that represent genuine

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Speaker 1: inclusion is good for business. It's not politically correct. It's

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Speaker 1: a scenario for success. And those are agendas that are

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Speaker 1: wildly supported by Disney. So I think we're all on

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Speaker 1: a really good track right now. Yeah, it's been a

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Speaker 1: it's been a rocky road, but I feel like the

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Speaker 1: awareness in the the sensitivity is so heightened. Will you

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Speaker 1: have so many things to do? We are so grateful

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Speaker 1: that you spent and I have to get to Burbank

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Speaker 1: established exactly. Thank you so much time and spending. We're

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Speaker 1: I'm happy to be here. Thank you, Thanks for listening.

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Speaker 1: Be sure to tune in next week for another episode

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Speaker 1: of Strictly s