• Donald Trump owns his own social media company.
• But Truth Social isn't where to go if you want a lot of people to see you attack Jimmy Kimmel.
• So Melania Trump made sure her demand that ABC do something about Kimmel appeared on Elon Musk's X, too.

Melania Trump says ABC should "take a stand" over Jimmy Kimmel, because she doesn't like a joke the talk show host made last week.

First things first: The first lady calling on a media company to do something about its employee because she doesn't like what that employee said is a bad thing. It's an attempt to use the power of the White House to silence speech that the White House doesn't like.

And it's just as worrisome as it was last September, when Brendan Carr, Trump's pick to head the Federal Communications Commission, told ABC owner Disney to "take action, frankly, on Kimmel" because Kimmel had made a joke about Trump supporters and Charlie Kirk. Disney suspended Kimmel for a few days and then reinstated him after public outcry.

There is a difference between Carr's demand and Melania Trump's demand on Monday, since Carr is a regulator with direct oversight over parts of Disney's business, and Melania Trump doesn't have any formal power over … anything. But she's still using the power of the White House to try to control speech, and that should alarm anyone with any common sense. (I've asked her office for comment.)

Let's see how new Disney CEO Josh D'Amaro responds to this one.

Much less important, but still interesting to me: The first lady's choice of platform to make her demand/threat. Melania Trump used Elon Musk's X, the site formally known as Twitter, to post her thoughts on Monday, using both her official First Lady of the United States account and her own personal account.

Trump also posted the same statement on Truth Social, the social media site owned by her husband. But that one seemed obligatory. Not in the way it's literally obligatory for Donald Trump to post at least some of his thoughts on his own social platform before he puts them anywhere else. But in the way you're supposed to tell your significant other you think they make the best pasta, when what you really crave is Olive Garden.

The numbers make it clear why Melania Trump chose to use X to make a splash: Her post on that platform has 230,000 likes, and that number is skyrocketing. Her Truth Social post has 6,500 likes and is traveling at a much more leisurely pace.

All of which is a reminder that while Truth Social is the Trump-owned Twitter alternative Donald Trump uses, it remains a minor-at-best platform. One that won't tell you how many users it has, and one that managed to lose more than $700 million on revenue of $3.7 million in 2025.

None of that is news, nor does it seem to matter to Trump, who still owns a company worth nearly $3 billion, even after a stock plunge and the departure of its CEO — perhaps because the company's current plan is to merge with a nuclear fusion company.

It also doesn't matter where Donald Trump truths or posts or spouts off — he's the president of the United States, so just about anything he says that's noteworthy gets instantly transmitted through the global media ecosystem. Like what happened on Monday afternoon, where he piggybacked on his wife's post and explicitly called on Disney and ABC to fire Kimmel.

But for the rest of us — including the first lady of the United States — where you post a message matters. Which is why she's using the one that helped her husband get into the White House in the first place.

• ABC late-night host Jimmy Kimmel has provoked another political controversy.
• Kimmel joked that Melania Trump "had a glow like an expectant widow."
• The first lady said on social media that Kimmel "shouldn't have the opportunity" to "spread hate."

Jimmy Kimmel is back in the middle of a political firestorm.

The ABC host drew the ire of Melania Trump after joking Thursday on his late-night show that the first lady "had a glow like an expectant widow." Kimmel told the joke days before a gunman entered the building hosting the White House Correspondents' Dinner on Saturday night.

"Kimmel's hateful and violent rhetoric is intended to divide our country," Melania Trump wrote on X on Monday morning. "His monologue about my family isn't comedy- his words are corrosive and deepens the political sickness within America."

The first lady added that "people like Kimmel shouldn't have the opportunity to enter our homes each evening to spread hate."

"Enough is enough. It is time for ABC to take a stand. How many times will ABC's leadership enable Kimmel's atrocious behavior at the expense of our community," Melania Trump's post continued.

President Donald Trump seconded his wife's anti-Kimmel sentiment by encouraging Disney to cut ties with the comedian.

"Jimmy Kimmel should be immediately fired by Disney and ABC" Trump wrote in a Truth Social post on Monday afternoon.

ABC suspended Kimmel's show last fall for comments he made about Charlie Kirk's killer, which drew the condemnation of FCC Chairman Brendan Carr. Kimmel was reinstated by ABC days later following an outcry from free-speech advocates.

Nexstar and Sinclair, which each own hundreds of local TV stations, initially refused to air "Jimmy Kimmel Live," though they eventually agreed to let their ABC affiliates show it.

Leaders at ABC and Disney, its parent company, now must decide whether to take any action against Kimmel and risk another boycott, or stand behind the comic.

It's the latest challenge for new Disney CEO Josh D'Amaro, who's already dealt with his company's OpenAI deal falling apart and the shelving of a controversy-plagued season of "The Bachelorette."

A Epic Games está apostando em sua parceria com a The Walt Disney Company como principal motor de retomada do crescimento do Fortnite, após uma série de lançamentos abaixo do esperado e demissões recentes na companhia.

No mês passado, a empresa cortou cerca de 1.000 funcionários em um esforço de redução de custos estimado em US$ 500 milhões e reconheceu internamente que diversos novos jogos e atualizações do Fortnite não tiveram boa recepção. Entre eles, modos como o “Ballistic” e o “Festival Battle Stage” serão descontinuados, enquanto o “Rocket Racing” será encerrado em outubro.

Em comunicado interno, o CEO da Epic, Tim Sweeney, afirmou que, apesar de o Fortnite seguir como um dos jogos mais bem-sucedidos do mundo, a empresa tem enfrentado dificuldades para manter consistência nas atualizações e no engajamento do público.

De Marvel a Pixar

A nova aposta da companhia está centrada em uma série de jogos desenvolvidos em parceria com a Disney, que investiu US$ 1,5 bilhão na Epic há dois anos. O primeiro título dessa colaboração deve ser lançado em novembro e terá formato de jogo de tiro com personagens das propriedades da Disney, incluindo Marvel, Star Wars e Pixar.

Segundo fontes internas, o projeto é visto como estratégico para revitalizar o Fortnite e ampliar seu alcance global, embora algumas versões iniciais tenham recebido avaliações internas consideradas “medianas”.

A parceria também prevê pelo menos mais dois jogos adicionais, mas parte dos recursos já foi redirecionada após preocupações com o cronograma de desenvolvimento.

Apesar disso, a Disney afirmou que mantém confiança na colaboração e que o projeto segue dentro de sua estratégia de longo prazo para construir um ecossistema integrado de jogos e entretenimento.

A Epic Games afirmou que sua abordagem de desenvolvimento é baseada em lançamentos rápidos e melhorias contínuas, ainda que isso tenha levado, segundo funcionários, a produtos lançados em estágios iniciais de maturação.

A companhia foi fundada em Cary, na Carolina do Norte, e ganhou destaque global em 2017 com o sucesso do Fortnite no modo battle royale, que rapidamente se tornou um fenômeno global e gerou bilhões de dólares em receita nos anos seguintes.

O novo CEO da The Walt Disney Company, Josh D’Amaro, mal completou uma semana no cargo e já viu duas apostas bilionárias em tecnologia enfrentarem dificuldades — uma delas praticamente desmoronando.

Na terça-feira (24), a Epic Games anunciou a demissão de 1.000 funcionários após novas versões de seu jogo de sucesso Fortnite não conseguirem engajar os fãs. A Disney havia anunciado, dois anos antes, um investimento de US$ 1,5 bilhão na Epic para criar um novo universo digital baseado em personagens e histórias da companhia.

Poucas horas depois, a OpenAI anunciou que vai encerrar o Sora, seu gerador de vídeos por inteligência artificial lançado com grande expectativa no ano passado. A decisão faz parte de uma reestruturação mais ampla, com foco em ferramentas de produtividade e programação, além de uma possível abertura de capital ainda neste ano.

O fechamento do Sora também implica o fim de uma parceria com a Disney, que previa um investimento de US$ 1 bilhão na OpenAI e o uso da tecnologia para criação de conteúdo. A empresa também descontinuará versões da ferramenta para desenvolvedores e retirará funcionalidades de vídeo do ChatGPT.

D’Amaro assumiu o cargo de CEO no lugar de Bob Iger em 18 de março. Na assembleia anual da empresa, no mesmo dia, ele apresentou sua visão de uma Disney mais conectada com os fãs, em parte por meio do uso de novas tecnologias. Segundo ele, o serviço de streaming Disney+ deve se tornar um portal para interação não apenas com filmes e séries, mas também com jogos e experiências.

Seu objetivo é “oferecer uma experiência mais conectada, personalizada e imersiva aos consumidores — onde quer que estejam e quando quiserem interagir conosco”.

As ações da Disney fecharam em queda de 1,6% na terça-feira.

O acordo com a Epic foi liderado por D’Amaro, que anteriormente comandava as áreas de parques temáticos, produtos de consumo e games da empresa. Ao anunciar a parceria, a Disney apresentou conceitos de um mundo online dentro do Fortnite que lembrava um parque temático. D’Amaro também passou a atuar como observador no conselho da Epic.

Em um memorando a funcionários e fãs, o fundador da Epic, Tim Sweeney, afirmou que a queda no engajamento do jogo levou a empresa a gastar mais do que arrecadava. Cortes de custos de cerca de US$ 500 milhões devem preparar a companhia para “grandes lançamentos no fim do ano”, disse, sem mencionar o projeto com a Disney.

A parceria com o Sora era vista como uma das iniciativas mais ambiciosas da Disney no uso de inteligência artificial. Anunciado há poucos meses, o plano previa permitir que fãs criassem vídeos curtos com mais de 200 personagens da companhia — incluindo franquias como Star Wars e Marvel — e até publicassem esse conteúdo no Disney+.

No entanto, o projeto enfrentava desafios. Internamente, havia dúvidas sobre a demanda e o alto consumo de recursos computacionais. Além disso, o lançamento inicial do Sora gerou controvérsias por questões de direitos autorais, levando a OpenAI a implementar controles para proteger conteúdos e propriedades intelectuais.

Após o fim do Sora, a Disney afirmou que o campo da inteligência artificial ainda é incipiente e evolui rapidamente, e que continuará buscando novas parcerias tecnológicas. A companhia agora pode recorrer a alternativas como Runway AI, Pika Labs e Google, que desenvolvem ferramentas semelhantes.

Enquanto isso, a OpenAI redireciona sua estratégia para competir com a Anthropic no mercado corporativo, priorizando ferramentas mais avançadas e sistemas capazes de executar tarefas de forma autônoma.

Para D’Amaro, o início de mandato mostra os desafios de apostar pesado em tecnologia em um momento de rápidas transformações no setor.

• I've been on many Disney cruises and have upgraded to its concierge class four times.
• It's pricey, but it comes with complimentary bites and drinks, a spacious room, and other benefits.
• To me, the most valuable perk is priority access for booking cabanas on Disney's private islands.

I've been on about 15 Disney cruises. Of those sailings, I've booked concierge four times.

It's the most luxurious tier available and is substantially more expensive than other staterooms. Prices vary, but in general, I've found concierge staterooms are about double the price of a deluxe verandah (balcony) stateroom.

For example, on a recent five-night sailing aboard the Disney Dream, we spent $10,000 on a one-bedroom concierge stateroom for our family of four. A deluxe verandah room would've been about $5,000.

With that in mind, I'm often asked if concierge is worth the splurge. Personally, there's just one benefit that makes it feel worth it for my family.

Concierge comes with many perks, but they don't necessarily make up for the high price tag

In addition to priority boarding and larger, upgraded rooms, concierge passengers have access to exclusive lounge areas and a private sun deck on their ship.

They can order complimentary alcohol and specialty drinks at the embarkation-day lunch and during the nightly happy hour in said lounge.

Plus, they receive free popcorn and bottled sodas for the on-board theater shows, complimentary mini-bar items in their room, and a more robust, high-end selection of bathroom amenities.

The rooms are really nice, but we typically don't spend much time in them since there's so much to do on and off the ship. And, if you add up every drink and bucket of popcorn, the difference between a verandah and a concierge stateroom still doesn't come close to evening out.

However, what really makes concierge special is the white-glove attentive service and front-of-the-line access for everything.

That's where my favorite perk comes in: priority access to the elusive beach cabanas on Disney's private islands.

For me, priority cabana access is the only reason to book concierge

Many Disney cruises stop at at least one of its private island destinations in the Bahamas: Castaway Cay and Lookout Cay at Lighthouse Point.

Each location has around two dozen cabanas available for rent, and they're really exclusive since Disney ships have thousands of passengers.

This scarcity is why concierge status can make all the difference. They get first crack at booking all activities and experiences, including cabanas.

In my experience, the cabanas go fast and can fill up before the booking window even opens to all guests, including those at the highest Disney Cruise Line loyalty tier who are in line after concierge.

I've found it's rare for a non-concierge guest to get a cabana unless they're on the waitlist and get lucky with a last-minute cancellation.

On top of that, concierge guests don't have to compete in the "log in at midnight when your booking window opens" game to get the amenities they want.

Instead, they have a dedicated email they can use to communicate their wishes, and a concierge handles it for them.

On our first concierge sailing, we requested a cabana and it was reserved for us well before our departure. On the second, we got wait-listed, then were notified that we'd gotten a cabana while aboard the ship.

To be clear, these cabanas are not free or discounted for concierge passengers. We've paid between $700 to $900 a day for ones that fit up to six guests.

They're more than just a place for privacy and shade, though: The elevated spaces have dedicated hosts, lots of seating, and complimentary non-alcoholic drinks and snacks.

On Castaway Cay, the cabanas include access to snorkel gear, beach floats, and one-hour bike rentals, which would normally all cost extra.

No matter what you spend, good weather is never gaurunteed. On one trip, I was disappointed when one of our cabana beach days was cut short by a storm — mostly because I didn't feel we got our money's worth.

However, our host was quick to bring rain ponchos, and our kids thought our private golf-cart ride back to the ship was the best part of the day.

Concierge may not be a great value for everyone, but for travelers like me, it's a worthy splurge

Paying double for a cruise to be able to spend an extra almost-thousand dollars on a beach day is certainly not worth it for everyone.

I could see concierge being a great splurge for fellow Disney cruisers chasing privacy and front-of-the-line access. After all, if you're not in concierge, it's almost impossible to secure a cabana.

Ultimately, the value of this upgrade depends on which perks you plan to use and how important they are to your group. (And whether or not your ship is stopping at one of Disney's private islands.)

Sailing concierge really does feel luxurious and occasionally upgrading so we can score a precious cabana has been worth it.

However, my family's also been perfectly happy in the interior staterooms on a Disney cruise.

• Some of Hollywood's biggest stars took home awards at the 98th Academy Awards.
• But many of the recipients of the most Oscars in history never set foot in front of the camera.
• The winningest films of all time took home a range of awards, from best picture to best sound.

Both "Sinners" and "One Battle After Another" dazzled at the 98th Academy Awards on Sunday, with "Sinners" taking home four Oscars and "One Battle After Another" earning six. "Frankenstein" won the most technical awards, winning best production design, best costume design, and best hair and makeup.

Still, they didn't come close to some of the competition's biggest winners of all time.

Over the last century, only a handful of individuals and films have been able to claim more than seven or eight Oscars. Films took home the headlining awards of best director and best picture, as well as Oscars for design and production.

In fact, some of the winningest individuals in Oscars history actually made their impacts behind the scenes. Award-winners brought dinosaurs to life in "Jurassic Park," composed songs for "The Little Mermaid," and did makeup for "Men in Black."

Edith Head, an eight-time Oscar winner — and the most awarded woman in Oscars history — famously said, "What a costume designer does is a cross between magic and camouflage. We create the illusion of changing the actors into what they are not. We ask the public to believe that every time they see a performer on the screen he's become a different person."

When it comes to the winningest movies of all time, sometimes individual accolades outshine the films themselves. 1972's "Cabaret" won categories like best music, best film editing, and best director, but not best picture, showing that the whole sometimes isn't greater than the sum of its parts.

As excitement builds for this year's ceremony, here are the individuals and films with the most competitive Academy Awards in history.

Gordon Hollingshead — 7 Oscars

Gordon Hollingshead — whose movie career spanned from 1916 to his death in 1952 — won his first competitive Oscar for best assistant director in 1933, a category that would only exist through 1937.

He also won three best short subject (two-reel) awards, two best short subject (one-reel) awards, and one best documentary (short subject) award.

These categories have also been redefined since his victories in the 1940s and 1950s; they are now known as the awards for best live action short film and best documentary short film.

Fred Quimby — 7 Oscars

"Tom and Jerry" producer Fred Quimby received his first Oscar nomination and trophy in 1944 for best short subject (cartoon) for "Yankee Doodle Mouse."

His other six wins would all come from the same category, which is now called best animated short film.

Gary Rydstrom — 7 Oscars

Director and sound designer Gary Rydstrom was awarded best sound and best sound effects editing for "Terminator 2: Judgment Day," "Jurassic Park," and "Saving Private Ryan."

He also has a best sound award for "Titanic," bringing his total award count to seven.

Richard Day — 7 Oscars

Richard Day won seven awards for best art direction (now known as best production design), beginning in 1936 with "The Dark Angel" and concluding in 1954 with "On the Waterfront."

Rick Baker — 7 Oscars

Described by the Oscars as a "lifelong 'monster kid,'" makeup artist Rick Baker has made significant contributions to the world of movie makeup across genres, winning seven Academy Awards throughout his career.

In 1981, Baker received his first nomination and win for best makeup for "An American Werewolf in London."

In the '90s, he had multiple wins with "Ed Wood" (1995), "The Nutty Professor" (1997), and "Men in Black" (1998).

Another memorable contribution includes transforming Jim Carrey into the Grinch for the 2000 movie "Dr. Seuss' How the Grinch Stole Christmas."

Edwin B. Willis — 8 Oscars

Working alongside esteemed art director Cedric Gibbons, set designer Edwin B. Willis won eight Oscars in 15 years for his contributions to set design within the art direction category.

His first win came in 1941 for his work in interior direction on "Blossoms in the Dust," and his final win came in 1956 for his work in Set Decoration on "Somebody Up There Likes Me."

Dennis Muren — 8 Oscars

Dennis Muren won eight Academy Awards for his contributions to visual effects on iconic films like "Indiana Jones and the Temple of Doom" and "Jurassic Park."

Muren's work had a significant impact on popular films throughout the '80s and '90s, like "E.T. The Extra-Terrestrial," "Innerspace," and "Terminator 2: Judgment Day."

In addition to his competitive Oscars, Muren also won a technical achievement award in 1981.

Alan Menken — 8 Oscars

Disney fans can say a big thank you to composer Alan Menken, the mind behind the music in "The Little Mermaid," "Beauty and the Beast," "Aladdin," and "Pocahontas."

Menken won two Academy Awards for each of these films, winning in the scoring and original song categories.

Edith Head — 8 Oscars

The beautiful costumes worn by Audrey Hepburn in the classics "Roman Holiday" and "Sabrina" came from eight-time Oscar-winner Edith Head.

Known for her "distinctive personal style" and "forthright personality," according to the Oscars website, Head built a career dressing some of the most famous movie stars of her time, like Elizabeth Taylor, Marlene Dietrich, Grace Kelly, and Steve McQueen. In all, she received 35 nominations and is the winningest woman in Oscars history.

Other winning films she designed costumes for include "The Heiress," "All About Eve," "Samson and Delilah," "A Place in the Sun," "The Facts of Life," and "The Sting."

'Gone With The Wind' (1939) — 8 Oscars

Commonly regarded as one of the greatest films in history, "Gone With The Wind" still holds the record for the highest-grossing film in history adjusted for inflation, at $3.44 billion, per Guinness World Records.

The 1939 epic follows the romantic pursuits of plantation owner Scarlett O'Hara during the Civil War. More recently, the film has come under scrutiny for its inaccurate depictions of African Americans and the Confederate South.

It took home Academy Awards for best picture, best director, and best cinematography, among others. Notably, Hattie McDaniel became the first African American to win an Oscar when she was awarded best supporting actress for her role in the film.

'From Here to Eternity' (1953) — 8 Oscars

"From Here to Eternity" was a groundbreaking film during the 1950s because of its themes of adultery and alcoholism, considered explicit subject matter for the time period. The 1953 film, which follows the lives of soldiers in the US Army, is perhaps best known for its beach kissing scene between actors Burt Lancaster and Deborah Kerr, a graphic depiction by 1950s standards.

At the Academy Awards, the film took home best picture and best director, and actors Donna Reed and Frank Sinatra won best supporting actress and actor, respectively.

'On The Waterfront' (1954) — 8 Oscars

Based on crime articles that appeared in the New York Sun in the 1940s, "On The Waterfront" features Marlon Brando in a drama about crime among dock workers.

Brando received the award for best actor, and the film also picked up best picture and best director. While the film featured Leonard Bernstein's only original, non-adaptation film score, it failed to win best original score.

'My Fair Lady' (1964) — 8 Oscars

"My Fair Lady" follows Eliza Doolittle as she learns to become a sophisticated member of society thanks to the teachings of Professor Henry Higgins. It became the second-highest-grossing film of 1964.

The film won Academy Awards for best picture, best actor, and best director, among others. Notably, Audrey Hepburn wasn't nominated for her role as Eliza.

'Cabaret' (1972) — 8 Oscars

First taking shape as a novel, then a play, then a musical, the "Cabaret" film adaptation won eight Oscars out of its 10 nominations.

Liza Minnelli won best actress for her role as the untethered cabaret singer Sally Bowles, and the film took home best director and best score, among other categories.

The film holds the record for having the most Oscars without winning best picture.

'Gandhi' (1982) — 8 Oscars

The 1982 biopic dramatizing the life of Gandhi featured Ben Kingsley in the titular role.

While Kingsley secured best actor, the film additionally won best picture, best director, best original screenplay, best cinematography, best art direction, best costume design, and best editing.

'Amadeus' (1984) — 8 Oscars

Just two years later, another biographical drama would take the Academy by storm. Wolfgang Amadeus Mozart, played by Tom Hulce, has his rivalry with fellow composer Antonio Salieri, played by F. Murray Abraham, on full display in the epic film.

Coincidentally, the perceived rivalry was brought to life when Hulce and Abraham were both nominated for best actor, with Abraham winning.

The movie also won best picture, best director, best adapted screenplay, best costume design, best makeup, best production design (then known as best art direction), and best sound.

'Slumdog Millionaire' (2008) — 8 Oscars

Dev Patel made his film debut in the "Slumdog Millionaire," playing 18-year-old Jamal Malik as he tries to escape the slums of Mumbai, India.

The 2008 film was immediately met with widespread acclaim, which continued at the Academy Awards. "Slumdog Millionaire" won best picture, best director, best score, and best original song, among other categories.

Alfred Newman — 9 Oscars

Alfred Newman, who was known for films like "The King and I," won nine awards for his work as a composer.

He won his first Oscar in 1938 for scoring "Alexander's Ragtime Band" and his final Oscar in 1967 for "Camelot."

'Gigi' (1958) — 9 Oscars

The 1958 film "Gigi," set in turn-of-the-century Paris, follows the wealthy playboy Gaston and the innocent Gigi. The comedy went a perfect nine-for-nine at the Academy Awards, a record for the time.

The film won best picture, best director, best adapted screenplay, and best editing, among other categories.

'The Last Emperor' (1987) — 9 Oscars

As the title suggests, "The Last Emperor" is a biographical drama about China's last emperor, Puyi.

Like "Gigi," the film swept all of its nine nominations, taking home best picture, best director, best original score, and awards in other categories.

The film's immaculate recreation of the end of the Qing Dynasty in the eyes of the Academy also meant it took home best costume design and best production design.

'The English Patient' (1996) — 9 Oscars

This wartime romance won nine of its 12 nominations at the 69th Academy Awards.

The 1996 film, in addition to winning best picture and best director, won big in production awards, taking home best cinematography, best editing, and best sound.

'West Side Story' (1961) — 10 Oscars

The iconic "West Side Story" was unsurprisingly the first film in history to reach double-digit Oscar wins.

The 1961 film, with its captivating romance narrative surrounding the Sharks and Jets street gangs in New York City, was nominated for 11 Academy Awards and took home 10.

Winning best picture, best writing, and others, the film still holds the title of winningest musical in Oscars history. The continued cultural relevance of the film and its original theater production prompted the 2021 Stephen Spielberg version.

Cedric Gibbons — 11 Oscars

Cedric Gibbons won best art direction 11 times out of 38 nominations.

His first award came in 1930 at the second annual Academy Awards ceremony for "The Bridge of San Luis Rey." He won his final Oscar in 1957 for "Somebody Up There Likes Me"

'Ben-Hur' (1959) — 11 Oscars

The 1959 epic film was a remake of 1925's "Ben-Hur," a silent film. Following the story of a Jewish chariot rider in the 1st century, the film set a record at the 32nd Academy Awards for most Oscar wins.

Of the 11 Oscars "Ben-Hur" received, it took home some of the biggest: best picture, best director, best actor, and best supporting actor.

'Titanic' (1997) — 11 Oscars

James Cameron's box-office-smashing "Titanic" became the highest-grossing film of all time, a record it held for roughly 13 years until Cameron's "Avatar" overtook it in 2010.

The epic 1997 film, with its fleeting romance between Jack and Rose, tied "Ben-Hur" for Oscar wins.

It took home awards for best picture, best director, best cinematography, best costume design, best art direction, best sound, best editing, best sound editing, best visual effects, best original song, and best original dramatic score.

It was nominated in three further categories, but did not win: best actress for Kate Winslet, best supporting actress for Gloria Stuart, and best makeup.

'The Lord of the Rings: The Return of the King' (2003) — 11 Oscars

"The Lord of the Rings: The Return of the King" was the conclusion to Peter Jackson's epic trilogy based on J.R.R. Tolkien's original novel.

The 2003 film went 11-for-11 at the 76th Academy Awards, winning best picture, best director, best editing, best art direction, best costume design, best makeup, best adapted screenplay, best original score, best original song, best sound mixing, and best visual effects.

Walt Disney — 22 Oscars

Walt Disney dominated the best short subject (cartoon) category (now awarded as best animated short film) throughout the 1930s with projects like "Flowers and Trees," "Ferdinand the Bull," and "The Ugly Duckling."

His films continued to win awards throughout his life, and he won his final competitive Oscar posthumously in 1969 for "Winnie the Pooh and the Blustery Day," bringing his total to 22 awards from 59 nominations.

In addition to his competitive awards, Disney was also the recipient of four non-competitive special awards for the creation of Mickey Mouse, the significance of "Snow White and the Seven Dwarfs" in animation, the use of sound in "Fantasia," and his work as a creative producer, for which he won the Irving G. Thalberg Memorial Award.

A Disney alertou nesta segunda-feira (2) que enfrenta “ventos contrários na visitação internacional” em seus parques temáticos americanos, e que isso deve limitar o crescimento do lucro operacional da divisão no trimestre atual.

O aviso foi dado durante a divulgação dos resultados do primeiro trimestre fiscal. O CFO Hugh Johnston não quis detalhar as razões da desaceleração, mas confirmou que a empresa já está reagindo: tanto a Disneyland, na Califórnia, quanto o Walt Disney World, na Flórida, estão redirecionando seus esforços de marketing para atrair visitantes domésticos em vez de estrangeiros.

O contexto ajuda a explicar a cautela da empresa. Tensões diplomáticas do governo Trump com aliados tradicionais, a imposição de tarifas comerciais e processos mais rigorosos de verificação de vistos têm levantado preocupações crescentes sobre a disposição de estrangeiros em visitar os Estados Unidos.

Apesar da sinalização de cautela para os próximos meses, os números do trimestre encerrado em 27 de dezembro ainda foram fortes. A divisão de experiências — que engloba parques temáticos, cruzeiros e produtos de consumo — registrou receita recorde de US$ 10 bilhões, alta de 6% na comparação anual. O lucro operacional também bateu recorde trimestral, chegando a US$ 3,3 bilhões, igualmente 6% acima do ano anterior.

desempenho foi puxado por uma combinação de fatores. A frequência nos parques americanos subiu 1%, enquanto o gasto médio por visitante cresceu 4%. A linha de cruzeiros também contribuiu, com mais reservas após a adição de um novo navio à frota.

A divisão de experiências é o motor de lucro da Disney — e por isso mesmo será uma das principais responsabilidades do próximo CEO da companhia. Segundo o Wall Street Journal, o conselho de administração se reúne esta semana na sede em Burbank, na Califórnia, e deve votar o sucessor de Bob Iger.

De acordo com o jornal, a disputa está entre dois executivos da casa: Josh D’Amaro, atual presidente da divisão de experiências, e Dana Walden, copresidente da divisão de entretenimento. A especulação sobre quem ficará com o cargo — e qual será o destino do preterido — tem consumido funcionários da Disney e boa parte de Hollywood nos últimos meses, segundo a publicação.