
PAW Patrol: The Dino Movie
Paramount Pictures /Courtesy Everett Collection
As the new co-owner of the Los Angeles Lakers, Bob Iger brings with him arguably the most significant Hollywood profile of any owner in the history of U.S. major professional sports.
The question fans and Angelenos have now is: What kind of Disney magic can he make?
Iger and Josh Kushner unveiled the stunning deal Wednesday morning, saying they pivoted from pursuing an expansion franchise based in Las Vegas to buying the majority stake held by Mark Walter. The whole Lakers negotiation from start to finish took, according to Iger, just 72 hours. In 2025, Walter ended Buss the family’s 46-year dominion over the team by taking control in a deal valuing the Lakers at around $10 billion. It was a new record in U.S. pro sports. A little more than a year later, Iger and Kushner have brought in at a valuation of $12.5 billion, a new record.
More than a few eyebrows have been raised about Walter’s entrance and exit from the Lakers given the fact that the billionaire’s corporate empire is currently the subject of a federal investigation. Bill Simmons, founder of The Ringer, a longtime Lakers hater and the head of talk at Spotify, wrote in an X post that “Conspiracy Bill is overheating” after “the most shocking NBA sale in a long time. The Lakers got flipped!”
A number of fans were stunned by the timing, noting that Walter had steered the Dodgers to two straight titles and seemed a viable longtime owner after the long reign of the Buss family. The Buss family became NBA royalty by presiding over both the “Showtime” run of titles in the 1970s and ’80s with Magic Johnson and Kareem Abdul-Jabaar, and the 2000s-2010s juggernauts featuring Kobe Bryant and Shaquille O’Neal.
The Buss family had shepherded the franchise capably for decades, but infighting had led to disarray in the front office. The league had also changed. While the Busses were wealthy by nearly any measure, they weren’t rich like the league’s new wave of owners.
When Walter came in, Lakers fans were excited to have their very own billionaire in charge. Fans hoped for some facsimile of what Walter has done across town with the Dodgers. The team over in Chavez Ravine has the second-highest payroll in baseball, has invested heavily in beefing up the front office and has won three MLB championships since Walter became majority owner in 2012.
And Walter has been investing in the Lakers. In February, he made his most significant change, bringing over the Dodgers’ longtime executive vice president and chief marketing officer, Lon Rosen, as the Lakers’ president of business operations. The franchise’s G-league (or developmental) team was relocated. There were initiatives to bolster the squad’s assistant general manager ranks and its sports science resources. The team also let a number of longtime staffers go last spring. Now, with Walter gone, it is unclear what the team’s direction will be going forward.
“We’re not in Kansas anymore,” said Pete Zayas, co-host of the Laker Film Room podcast, after today’s news was announced. “We don’t have the family that had been running it for 40 years. We’re in some different waters for sure.”
In an interview with the California Post, Iger didn’t address speculation about what might have motivated the Walter sale. He said the deal “came together in three days,” a remarkably swift timeline. Former majority owner Jeanie Buss, who had agreed with Walter to remain for five years as the team’s governor, is expected to continue for now in that role, Iger said. “We have enormous respect and appreciation for Jeanie, her father and what they’ve contributed to this franchise,” Iger said.
The former Disney mogul said the news is “still sinking in” and his role is “very new.” In terms of future plans, he said, “We’re smart enough to know what we know and what we don’t know. It’s just premature to speculate at all about what we plan to do, because frankly, we haven’t made any plans yet. Again, we go into this with an appreciation of who the Lakers are. And we just want to build value from today on.”
Iger came on as a minority investor in Kushner’s Thrive Capital in 2022. Earlier this year, Thrive Capital launched a holding company called Thrive Eternal whose investments, said Kushner, would be in “iconic franchises and cultural institutions rooted in tradition, identity, and shared experience” that would could not be easily replaced by digital innovations, but could enhanced by them. That holding company is, according to The Athletic, the vehicle by which Kushner and Iger intend to buy the Lakers.
Iger approaches the team’s new era from a fan’s perspective. He has been known for his passion for the NBA and close relationships with prominent players like Chris Paul. In L.A., he is taking over just after the high-profile departure of LeBron James, who headed to Philadelphia in a free-agent deal earlier this summer. That leaves Luka Doncic and Austin Reeves as the team’s primary stars, with a number of questions about the rest of the roster.
The Lakers have won 17 total championships. James helped lead them to the one-of-a-kind Covid bubble title in 2020, but their last non-pandemic crown came in 2010. Apart from 2020, their best recent showing in the playoffs has been a Western Conference Finals appearance in 2023 in which they were swept by the Denver Nuggets.
Off the court, the team is still one of the league’s most potent money-makers, but there’s plenty of potential to improve the business. According to a recent ranking compiled by Deadline sister publication Sportico, the team’s 2025 revenue was well behind that of the No. 1 NBA franchise, the Golden State Warriors at $833 million. L.A. was also elbowed out by the New York Knicks, which took in $620 million.
Crypto.com Arena, the awkwardly named venue in downtown L.A. once known as Staples Center, is one area where Iger could put his Disney magic to good use. The arena opened in 1999, at a time when downtown was seeing a massive influx in development spending. Today, DTLA’s mojo has ebbed. The NBA’s L.A. Clippers, longtime former tenants at Staples/Crypto.com, opened their own beyond state-of-the-art venue in Inglewood, CA, the Intuit Dome, in 2024. The result? According to Sportico, “The Clippers took the biggest financial leap in 2024-25 in Year 1 of the Intuit Dome at just over $100 million in sponsor revenue, good for second in the NBA.”
Iger made his reputation during his time at Disney in part by acquiring Marvel, Fox, Pixar and Lucasfilm, but also by presiding over a successful expansion of the company’s theme park empire. As even Disney super-fans might wincingly acknowledge, he became a master of extracting revenue from the parks. From opening branded areas like Galaxy’s Edge and Avengers Campus to venturing to China with Shanghai Disney to introducing dynamic pricing, Iger proved adept in overseeing experiential businesses. A number of major sports teams, especially in the NBA, have shown that kind of savvy. Surely, a number of moves by the Warriors, from their Rakuten jersey sponsorship to their “Thrive City” mixed-use area around the San Francisco arena they own, have caught Iger’s eye.
Then there’s the local media footprint, a key complement to the national NBA rights deals that took effect in 2025. Last year, the Lakers received a hefty $200 million payment from Charter’s Spectrum SportsNet, the regional sports network whose 20-year deal for team rights runs through the 2031-32 season. While the deal is the league’s richest Walter, according a report last year in Puck, has “shown openness to taking ownership of Spectrum SportsNet away from Charter.”
The upside for the cable company is getting the unattractive financials of the RSN off its books. For the former Lakers owner, the appeal was to be able to potentially rework the team’s media plan to take more of an ownership role, as Major League Baseball’s New York Yankees and others do. Iger, as the former overseer of ESPN and the architect of the latter’s recent swap of 10% of its equity for control of NFL media properties like the NFL network, seems to be pretty ideal casting for an owner looking to reinvent TV and streaming.
As the RSN model continues to erode, the NBA is among the leagues overhauling its media plan. It is aiming to launch a hub for local rights by the 2027-28 season. ESPN Chairman Jimmy Pitaro, Iger’s former direct report, said at a CNBC conference in June that there is “a local RSN problem that the entire industry is grappling with right now.” The ESPN app, which relaunched in dramatically expanded form a year ago, has been onboarding non-ESPN sports programming like CW game coverage. As leagues grapple with the RSN issue, Pitaro said, “they should be looking for reach, which we can provide.”
When Iger returned to the Disney CEO role in 2023 for his second stint, which ended earlier this year when he passed the baton to Josh D’Amaro, his flair for showmanship, on top of his business acumen, was mentioned by many inside the company. That begs the obvious question of how the experience of attending a Laker game might change in the Iger era.
Whether they find a new home or remodel the faded Crypto.com, the team has plenty of ways to improve the experience. That said, Laker games have already been an industry staple, with celebrities like Leonardo DiCaprio, Kim Kardashian and Selena Gomez rubbing elbows courtside with industry heavyweights like Jeffrey Katzenberg.
As visions of even loftier, star-packed gatherings take flight, some fans haven’t been able to look past the inherent confusion of having one of the most prominent teams in sports change hands twice in 14 months. “How deep are their pockets?” wondered Laker Film Room co-host Darius Soriano. “They just paid an extraordinary amount of money for this franchise, and putting so much money on the table can be tricky. Are you going to follow through on that investment?”
Tom Tapp contributed to this report.
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While giving his all to his The Social Reckoning portrayal of Mark Zuckerberg, Jeremy Strong reached out to the Meta CEO and Facebook co-founder.
The Oscar nominee recently revealed that he emailed Zuckerberg to assure him he takes the “responsibility very seriously,” noting that the tech mogul responded. Strong would not reveal the details of Zuckerberg’s email.
“I wrote to him—I’m probably going to give Sony an aneurysm—I sent him an email,” Strong told GQ. “Just to say that I take this responsibility very seriously, and the veracity of it seriously, and I’m approaching it with respect.”
After The Social Network (2010) recounted Zuckerberg’s creation of Facebook and the controversy that ensued, screenwriter Aaron Sorkin returned to write and direct the upcoming sequel, which premieres Oct. 9, focusing on a 2021 document leak that exposed harm Facebook caused on society.
Noting that “it’s crazy to take this on at all,” Strong explained of the role, “Listen, I know that he is a reviled person and not a popular person in our culture, but I do not think you should have an actor playing him who wants to set out to condemn him.”

“It feels incredibly fraught to talk about the movie, to talk about Mark and being the person who is playing Mark and representing Mark in a sense to the world and to posterity; I feel an enormous sense of weight and responsibility,” added Strong. “And listen, my job is to understand and defend his point of view and fight his fight.”
In The Social Reckoning, Facebook engineer Frances Haugen (Mikey Madison) goes to Wall Street Journal reporter Jeff Horwitz (Jeremy Allen White) with the social media platform’s most guarded secrets. Bill Burr, Wunmi Mosaku, Billy Magnussen and Betty Gilpin also star.
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It’s dinosaur mayhem at the box office as two newcomers about the prehistoric beasts — The End of Oak Street and PAW Patrol: The Dino Movie — set out to challenge the behemoth that is Spider-Man: Brand New Day.
Warner Bros. releases director David Robert Mitchell’s The End of Oak Street in 3,400 North American theaters on Friday, with the studio projecting an opening weekend in the range of $18 million to $23 million. Warner Bros. expects to add between $20 million to $25 million internationally for the sci-fi survival movie that hails from Bad Robot and carries an $80 million production budget.
Anne Hathaway continues her busy 2026, leading the cast that also includes Ewan McGregor, Maisy Stella and Christian Convery. Mitchell, known for the 2014 horror hit It Follows, helmed the movie from his own script about a family in the early 1980s as they realize that their suburban neighborhood has been transported to an area with prehistoric predators.
The End of Oak Street holds an 82 percent approval rating from critics on Rotten Tomatoes. In his review for The Hollywood Reporter, chief film critic David Rooney called the movie “mindlessly entertaining in a big-dumb-fun kind of way.” At the Oak Street premiere, Hathaway expressed to THR her gratitude “that audiences want to go see original things, and this movie is really original.”

PAW Patrol: The Dino Movie
Paramount Pictures /Courtesy Everett Collection
For those seeking a more family-friendly dino adventure, Paramount Pictures releases PAW Patrol: The Dino Movie in more than 3,500 locations in North America. For the third feature installment in producer Spin Master Entertainment’s animated franchise, the studio projects a domestic opening ranging in the mid-to-high teens after having already surpassed $27 million in 30 international markets. Dino Movie has a $39.5 million production budget.
Carter Young, Mckenna Grace, Terry Crews, Jennifer Hudson and Snoop Dogg are among the voice stars for director Cal Brunker’s film that sees our Paw Patrol canine heroes end up in a world containing dinosaurs. The previous sequel, 2023’s PAW Patrol: The Mighty Movie, opened to $22.7 million domestically in late September. Its $205 million global run improved upon the $144 worldwide total for 2021’s original PAW Patrol: The Movie, which adapted the series that first launched on Nick Jr. in 2013.
The release of a PAW Patrol movie can be counted on to increase interest in all iterations of the brand, including merchandise and streaming for the shows. PAW Patrol: The Dino Movie has earned an 85 percent critics score on Rotten Tomatoes, with THR critic Frank Scheck writing that, “while the material is thoroughly juvenile, the films impart valuable messages to their impressionable viewers.”
Meanwhile, Spider-Man: Brand New Day will continue flying high with its third straight weekend at the top of the box office chart. Sony Pictures expects filmmaker Destin Daniel Cretton’s smash hit to bring its domestic total to $700 million in the next day or so as the film looks to soon surpass the global sum of $1.9 billion that previous franchise title Spider-Man: No Way Home collected after opening in December 2021. Starring Tom Holland, Zendaya and Sadie Sink, Brand New Day has notched no shortage of records in its historic run.
Thanks to hits like Brand New Day, The Odyssey, Toy Story 5 and others, the summer box office surpassed the $4 billion mark this week, representing just the second time that the prime moviegoing season has achieved this since the COVID pandemic. (The first time was 2023, aka the summer of Barbenheimer.) This means that the all-time summer mark of $4.755 billion from 2013 could still remain within reach.
Other new theatrical options this weekend include thriller The Rivals of Amziah King, starring Matthew McConaughey, and the Kristen Stewart-led stoner comedy The Wrong Girls.
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Two of Hollywood’s most powerful unions have a message for California Attorney General Rob Bonta and Paramount Skydance CEO David Ellison: Work it out ASAP, whether in court or otherwise.
The DGA and IATSE sent a joint letter to the pair on Wednesday to “raise concerns about the potential for a prolonged timetable for the litigation” and encourage them to make nice after their legal standoff over the proposed merger with Warner Bros. Discovery has Ellison threatening to pull his studio out of the state completely.
At the very least, the unions — which jointly represent nearly 200,000 film and television workers across the U.S. and Canada — want the antitrust case sorted out in court sooner than the current March 2027 trial date.
“While we have been consistent in our view that mergers, such as this one, historically offer few benefits to workers, we are also particularly concerned about the negative impact a delay in the decision regarding the proposed merger will have on our members and the industry at large,” the letter reads. “We further believe the benefits and detriments of the proposed merger should be measured against the alternative outcomes if it is not approved, especially if the anti-competitive impacts of the proposed merger can be mitigated by a binding agreement.”
The unions’ letter argues that the current trial timeline would deal an irreparable blow to an already struggling domestic film and television industry, particularly in California, where production is down more than 40%.
It continues: “As our members struggle to find employment, the uncertainty surrounding the proposed merger is only making matters worse. We are aware of productions that have been put on hold or canceled altogether, leading to further reductions in available work for our members and other industry workers.”
The letter also includes a list of proposed “enforceable conditions” that would allow the merger to continue without detrimental effects on the competitive market.
The conditions are:
The message from the DGA and IATSE comes about a day after the news broke that Ellison had told senior executives that he would begin the process of moving Paramount out of California on October 1, if Bonta didn’t attempt to settle the case he’s leading with a group of 20 state AGs to block the WBC acquisition. October 1 is the day Paramount starts to accrue a so-called ticking fee of $7 million a day agreed to in the WBD deal terms if the transaction hasn’t closed by then. Paramount had previously asked the judge for a November trial date.
California Governor Gavin Newsom and Democratic gubernatorial candidate Xavier Becerra have both expressed desire for a settlement as well. So far, Bonta has showed no signs of backing down, calling Ellison’s threat “another attempt to blackmail the state into letting an illegal deal through.”
The Hollywood labor unions have all expressed varying degrees of wariness over the merger. The Writers Guild of America, which is also suing to block the merger, said yesterday in a statement, “This type of behavior is precisely why the merger should be blocked.”
SAG-AFTRA has stayed quiet thus far on the latest developments, but it has publicly opposed the merger unless there are certain production guarantees.
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