D'Amaro's Disney Priorities: Operate as One Disney
As Josh D’Amaro stepped into his role as CEO of The Walt Disney Company, he shared a letter with employees and cast members outlining three key priorities for the organization. In this series, we’ve explored each of those pillars, where they stand today, and what they could mean for Disney’s future. We conclude with the third priority: “Operate as One Disney.”
Anyone who knows me knows I’m a strong advocate for the idea of One Disney. It’s clear Josh is as well. While I don’t pretend to have influenced his thinking, I do remember passionately making this case when we sat down together at SXSW a few years ago. The core of that argument remains simple: Disney’s greatest advantage is the emotional connection it has built with audiences around the world. When you ask people what they’re a fan of, they don’t say Disney Entertainment or Disney Experiences. They just say "Disney."
Fans don’t see the internal divisions that exist within the company. To them, those boundaries are invisible. Whether someone prefers the parks, films, streaming, or consumer products, it all ladders up to a single brand in their mind. That creates a powerful opportunity. By breaking down internal silos and encouraging thoughtful cross-pollination, Disney can both deepen engagement and expand it, inviting fans to experience more of what the company has to offer.
To his credit, Josh appears to understand this intuitively. In his early days as CEO, he has emphasized the importance of Disney fans and the role they will play in the company’s future. The next step is turning that philosophy into consistent execution. During the height of the Michael Eisner era, synergy was the guiding principle. But while moments like The Lion King Celebration demonstrated what was possible, that level of coordinated storytelling has become less common in recent years.
When Disney launches a major film or series, it should feel like a company-wide moment. That means meaningful presence in the parks, across media networks, and throughout the broader ecosystem. The distinction between “parks projects” and “studio projects” should blur. To the guest, they are all simply Disney projects, and they should feel interconnected.
Of course, one of the biggest challenges to achieving this is structural. Questions around funding and ownership can complicate even the best ideas. Should a studio bear the cost of promoting a film within the parks, or should that fall to the parks as a guest-facing offering? These are valid internal considerations, but they are irrelevant to the audience. Guests don’t experience Disney through budget lines. They experience it through moments. Operating as One Disney requires leaders to occasionally prioritize the overall impact on the company over the narrow interests of any single division.
Encouragingly, there are signs of progress. Shanghai Disneyland demonstrated remarkable agility by incorporating elements tied to Zootopia 2, including having Gazelle perform “Zoo” in alignment with the film’s release. ESPN’s presence at Disneyland following the Super Bowl elevated the traditional “What’s Next?” celebration into something that felt bigger, blending sports, storytelling, and live entertainment across platforms. Looking ahead, the planned update to Smugglers Run to coincide with The Mandalorian and Grogu is another strong example of how coordinated timing can amplify both a film and a park experience.
Operating as One Disney requires leadership that actively encourages collaboration while respecting the creative autonomy of each team. It’s not about forcing integration, but about creating an environment where collaboration is the natural outcome. That means aligning incentives, removing friction, and hiring leaders who instinctively look for ways to build bridges rather than walls.
In today’s streaming-driven landscape, entertainment companies are increasingly focused on “eventizing” content to break through the noise. Disney is uniquely positioned to do this better than anyone else. With its unmatched reach and deeply rooted emotional connection to audiences, Disney has the ability to turn releases into true cultural moments, not just on screens, but across every touchpoint of the company.
History shows this isn’t a new idea. Even when Walt Disney Productions and Disneyland Inc. operated as separate entities, the weekly anthology television series still found ways to promote both the films and the park. If Disney could function as One Disney when it was technically two separate companies with a fair amount of bad blood between the two, there’s no reason it can’t fully realize that vision today.
If Josh can bring that philosophy to life, “Operate as One Disney” won’t just be a priority. It will be a competitive advantage.