Is Hulu shutting down in 2026? What we know about Disney+ and Hulu merging into one app
The Walt Disney Co. announced that they are moving forward with plans to integrate Hulu into the Disney+ app.
In an earnings call on Aug. 6, CEO Bob Iger said the plan is to combine the two streaming services to create a "unified app experience."
Here's what we know.
Last month Disney finalized a plan to take complete ownership of Hulu, buying out Comcast's one-third stake, according to a report from Busines Insider. With full ownership, they will be able to move forward with completely merging Hulu into the Disney+ app.
Iger spoke about the impact of merging the two streaming platforms in an earnings call, CBS News reported this week.
"This will create an impressive package of entertainment, pairing the highest caliber brands and franchises, great general entertainment kids, programming news and industry leading live sports content all in a single app," Iger said on the call.
Hulu content: New docuseries on Delphi murders hits streaming. How to watch and more about the case
The new "unified Disney Plus and Hulu streaming app" will be available to consumers in 2026, the Disney CEO said on the earnings call.
At the time of publication, both Hulu and ESPN content are already accessible within the Disney+ streaming app.
Contributing: CBS News, Business Insider
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Buzz Feed
26 minutes ago
- Buzz Feed
BuzzFeed, Inc. Reports Q2 2025 Results And Delivers Strong Revenue Growth
NEW YORK – (August 7, 2025) – BuzzFeed, Inc. ('BuzzFeed,' the 'Company,' 'we,' or 'our') (Nasdaq: BZFD) today announced its financial results for the quarter ended June 30, 2025. The Company delivered strong revenue growth while continuing to execute on its strategy to reduce platform dependencies, expand scalable revenue streams, and invest in future-oriented initiatives. 'I'm proud of what our team was able to accomplish in Q2,' said Jonah Peretti, BuzzFeed Founder and CEO. 'We returned to growth, driven by double digit gains in both commerce and programmatic advertising, our most scalable and tech enabled revenue lines. Our latest feature film hit #1 on Hulu in June. And we've begun beta testing on BF Island, our AI-native social media app. We've transformed and diversified our business and it is gratifying to see these efforts are continuing to bear fruit.' 'This quarter reflects continued momentum in our transformation efforts,' said Matt Omer, BuzzFeed CFO. 'We're seeing strong performance in programmatic advertising and affiliate commerce—two of our most scalable and reliable revenue lines. Combined with a more efficient cost structure and growing direct audience engagement, these results reinforce the durability of our model and our long-term strategy.' Second Quarter 2025 Financial and Operational Highlights for Continuing Operations Total revenue was $46.4 million, compared to $41.1 million in Q2 2024, an increase of 13% year-over-year. Advertising revenue slightly declined to $22.6 million, compared to $23.2 million in Q2 2024, reflecting a 3% drop. This was driven by a $2.3 million, or 31%, decrease in direct-sold advertising revenue, reflecting market softness and the Company's strategic focus on programmatic. Programmatic advertising grew 11% year-over-year to $17.4 million, demonstrating continued improvements in yield and targeting. Content revenue increased 53% to $10.7 million, compared to $7.0 million in Q2 2024. Studio revenue increased nearly fourfold, up $4.7 million year-over-year, primarily driven by the delivery of a feature film project. This was partially offset by a $1.0 million, or 17%, decline in direct-sold content. Commerce and other revenue rose 20% to $13.1 million, compared to $10.9 million in Q2 2024. Organic affiliate commerce grew 23% year-over-year, adding $12.8 million, supported by strong audience demand and an expanding partner base. Net loss from continuing operations was $10.6 million, compared to $5.4 million in Q2 2024, primarily driven by a non-recurring charge on loss on extinguishment of convertible notes. Adjusted EBITDA improved to $2.0 million, compared to $0.8 million in Q2 2024, which reflects a one-time $2.4 million reversal that positively impacted quarterly results and will not recur. Total US Time Spent across BuzzFeed's properties was 69.9 million hours, compared to 71.0 million hours in Q2 2024, with a 3% increase relative to Q1 2025, making BuzzFeed the only company in its competitive set to grow Time Spent this period. Business and Content Highlights Traffic diversification: 61% of BuzzFeed owned and operated traffic now comes from direct visits, internal referrals, and app activity, reducing dependence on external algorithms and platforms. HuffPost's homepage referrals grew 12% year-over-year and now account for three quarters of its total pageviews. Enhanced audience engagement: Nearly half of BuzzFeed and HuffPost's daily users return more than once a week, with logged-in users on tripling over the past two years. Leader in Time Spent: BuzzFeed, Inc. maintained its position with 69.9 million US hours of Time Spent in Q2, with leading all individual competitors at 36.4 million hours and HuffPost recording 20.7 million hours. High-margin revenue stream growth: Both programmatic advertising and organic affiliate commerce delivered year-over-year growth for five consecutive quarters. Studio business momentum: Renewed focus on IP development and long-form content providing protection from algorithmic shifts. Our feature film with Lionsgate, 'F*** Marry Kill,' topped charts as the #1 movie on Hulu in June, and the studio recently wrapped production on the highly anticipated 'Girls Like Girls' with Focus Features. Three more film projects are set to enter production in the second half of 2025. BF Island development: The Company opened beta testing of its AI-native social media platform, and plans to expand to select BuzzFeed community members by the end of Q3. First Half 2025 Results Total revenue reached $82.4 million, compared to $78.1 million in the first half of 2024, an increase of 5%. Net loss from continuing operations improved 29% to $23.1 million, compared to $32.3 million in the first half of 2024. Adjusted EBITDA losses improved significantly by 71% to $3.9 million, compared to $13.5 million in the first half of 2024. Reaffirming Full Year 2025 Financial Outlook Revenue expected in the range of $195 million to $210 million. Adjusted EBITDA expected in the range of $10 million to $20 million. These statements are forward-looking and actual results may differ materially as a result of many factors. Refer to 'Forward-Looking Statements' below for information on factors that could cause our actual results to differ materially from these forward-looking statements. Refer to 'Non-GAAP Financial Measures' below for a description of how Adjusted EBITDA is calculated. While Adjusted EBITDA is a non-GAAP financial measure, we have not provided guidance for the most directly comparable GAAP financial measure — net income (loss) from continuing operations — due to the inherent difficulty in forecasting and quantifying certain amounts that are necessary to forecast such a measure. Accordingly, a reconciliation of non-GAAP guidance for Adjusted EBITDA to the corresponding GAAP measure is not available. Quarterly Conference Call BuzzFeed's management team will hold a conference call to discuss our second quarter 2025 results today, August 7, at 5:00 PM ET. The call will be available via webcast at under the heading News and Events, and parties interested in participating must register at the same location. While it is not required, it is recommended you join 5 minutes prior to the event start time. A replay of the call will be made available at the same URL. We have used, and intend to continue to use, the Investor Relations section of our website at as a means of disclosing material nonpublic information and for complying with our disclosure obligations under Regulation FD. Definitions BuzzFeed reports revenues across three primary business lines: Advertising, Content, and Commerce and other. The definition of ' Time Spent ' is also set forth below. Advertising revenues are primarily generated from advertisers, both programmatically and directly, for ads distributed against our editorial and news content, including display, pre-roll, and mid-roll video products. We distribute these ad products across our owned and operated sites as well as third-party platforms, primarily YouTube and Apple News. Content revenues are primarily generated from clients for custom assets, including both long-form and short-form content, from branded quizzes to Instagram takeovers to sponsored content. Studio generally includes revenue from films, content licensing, TV projects, and other projects inspired by BuzzFeed IP. Commerce and other revenues consist primarily of affiliate commissions earned on transactions initiated from our editorial shopping content. Revenues from our product licensing businesses are also included here. Time Spent captures the time audiences spend engaging with our content across our owned and operated sites, as well as YouTube and Apple News, as measured by Comscore. This metric excludes time spent with our content on platforms for which we have minimal advertising capabilities that contribute to our advertising revenues, including Instagram, TikTok, Facebook, Snapchat, and X (formerly Twitter). There are inherent challenges in measuring the total actual number of hours spent with our content across all platforms; however, we consider the data reported by Comscore to represent industry-standard estimates of the time actually spent on our largest distribution platforms with our most significant monetization opportunities. About BuzzFeed, Inc. BuzzFeed, Inc. is home to the best of the Internet. Across entertainment, news, food, pop culture, and commerce, our brands drive conversation and inspire what audiences watch, read, and buy now—and into the future. Born on the Internet in 2006, BuzzFeed is committed to making it better: providing trusted, quality, brand-safe news and entertainment to hundreds of millions of people; making content on the Internet more inclusive, empathetic, and creative; and inspiring our audience to live better lives. Non-GAAP Financial Measures Adjusted EBITDA and Adjusted EBITDA margin are non-GAAP financial measures and represent key metrics used by management and our board of directors to measure the operational strength and performance of our business, to establish budgets, and to develop operational goals for managing our business. We define Adjusted EBITDA as net (loss) income from continuing operations, excluding the impact of net (loss) income attributable to noncontrolling interests, income tax provision (benefit), interest expense, net, other expense (income), net, depreciation and amortization, stock-based compensation, change in fair value of warrant liabilities, restructuring costs, transaction-related costs, certain litigation costs, and other non-cash and non-recurring items that management believes are not indicative of ongoing operations. Adjusted EBITDA margin is calculated by dividing Adjusted EBITDA by revenue for the same period. We believe Adjusted EBITDA and Adjusted EBITDA margin are relevant and useful information for investors because they allow investors to view performance in a manner similar to the method used by our management. There are limitations to the use of Adjusted EBITDA and Adjusted EBITDA margin, and our Adjusted EBITDA and Adjusted EBITDA margin may not be comparable to similarly titled measures of other companies. Other companies, including companies in our industry, may calculate non-GAAP financial measures differently than we do, limiting the usefulness of those measures for comparative purposes. Adjusted EBITDA and Adjusted EBITDA margin should not be considered a substitute for measures prepared in accordance with GAAP. Reconciliations of non-GAAP financial measures to the most directly comparable financial results as determined in accordance with GAAP are included at the end of this press release following the accompanying financial data. Forward-Looking Statements Certain statements in this press release may be considered forward-looking statements within the meaning of Section 27A of the Securities Act of 1933, as amended, and Section 21E of the Securities Exchange Act of 1934, as amended, which statements involve substantial risks and uncertainties. Our forward-looking statements include, but are not limited to, statements regarding our management team's expectations, hopes, beliefs, intentions, or strategies regarding the future. In addition, any statements that refer to projections, forecasts (including our outlook for 2025), or other characterizations of future events or circumstances, including any underlying assumptions, are forward-looking statements. The words 'affect,' 'anticipate,' 'believe,' 'can,' 'contemplate,' 'continue,' 'could,' 'estimate,' 'expect,' 'forecast,' 'intend,' 'may,' 'might,' 'plan,' 'possible,' 'potential,' 'predict,' 'project,' 'seek,' 'should,' 'target,' 'will,' 'would,' and similar expressions may identify forward-looking statements, but the absence of these words does not mean that a statement is not forward-looking. The forward-looking statements contained in this press release are based on current expectations and beliefs concerning future developments and their potential effects on us. There can be no assurance that future developments affecting us will be those that we have anticipated. These forward-looking statements involve a number of risks, uncertainties (some of which are beyond our control) or other assumptions that may cause actual results or performance to be materially different from those expressed or implied by these forward-looking statements. These risks and uncertainties include, but are not limited to: (1) macroeconomic factors including: adverse economic conditions in the United States and globally, including the potential onset of recession; potential government shutdowns or failure to raise the U.S. federal debt ceiling; current global supply chain disruptions; the ongoing conflicts in the Middle East and between Russia and Ukraine and any related sanctions and geopolitical tensions, and further escalation of trade tensions between the U.S. and its trading partners; tariffs; the inflationary environment; and the competitive labor market; (2) developments relating to our competitors and the digital media industry, including overall demand of advertising in the markets in which we operate; (3) demand for our products and services or changes in traffic or engagement with our brands and content; (4) changes in the business and competitive environment in which we and our current and prospective partners and advertisers operate; (5) our future capital requirements, including, but not limited to, our ability to obtain additional capital in the future, any restrictions imposed by, or commitments under, agreements governing any future indebtedness, and any restrictions on our ability to access our cash and cash equivalents; (6) developments in the law and government regulation, including, but not limited to, revised foreign content and ownership regulations, and the outcomes of legal proceedings, regulatory disputes, or governmental investigations to which we are subject; (7) the benefits of our restructuring; (8) our success divesting of companies, assets, or brands we sell, or in integrating and supporting the companies we acquire; (9) our success in launching new products or platforms, including any new social media platform; (10) technological developments including artificial intelligence; (11) our success in retaining or recruiting, or changes required in, officers, other key employees or directors; (12) use of content creators and on-camera talent and relationships with third parties managing certain of our branded operations outside of the United States; (13) the security of our information technology systems or data; (14) disruption in our service, or by our failure to timely and effectively scale and adapt our existing technology and infrastructure; (15) our ability to maintain the listing of our Class A common stock and warrants on The Nasdaq Stock Market LLC; and (16) those factors described under the sections entitled 'Risk Factors' in the Company's annual and quarterly filings with the Securities and Exchange Commission. Should one or more of these risks or uncertainties materialize, or should any of our assumptions prove incorrect, actual results may vary in material respects from those projected in these forward-looking statements. There may be additional risks that we consider immaterial or which are unknown. It is not possible to predict or identify all such risks. We do not undertake any obligation to update or revise any forward-looking statements, whether as a result of new information, future events, or otherwise, except as may be required under applicable securities laws. Contacts
Yahoo
an hour ago
- Yahoo
'Freakier Friday' has magical chemistry but it won't swap places with the beloved original
'Freakier Friday' proves that time is its own magical device. Generations of fans of the body-swap series — from the original 1972 novel by Mary Rodgers and the 1976 Jodie Foster-starring Disney adaptation to this 21st century update — have had decades to learn firsthand that everyone becomes their parents, no cursed fortune cookie required. In the justly beloved 2003 remake, emo teenager Anna (Lindsay Lohan) was horrified to wake up as her uptight mother Tess (Jamie Lee Curtis) — and vice versa — on the eve of Tess' wedding. Now, Anna is the strict single mother who can't get her grouchy high schooler, Harper (Julia Butters), to approve of her own fiancé, Eric (Manny Jacinto), a doting British widower who comes with his bratty girl, Lily (Sophia Hammons). Meanwhile, Tess beams with satisfaction that age alone has made Anna a dork and her the cool grandma. 'You're so lame,' she teases her daughter. Before you can say "Beware that psychic" (played by a hilarious Vanessa Bayer), all four females switch physiques: Harper with Anna and Lily with Tess. You know that Mark Twain quote, 'History doesn't repeat itself but it often rhymes'? Here, it's an echoey reverb with all the panicked gals shouting at once. The goal of the first Lohan and Curtis movie was to get the relatable pair to experience life in each other's sneakers and heels. Both ultimately understood that the other's priorities deserved respect, be it Anna's rock band practice or Tess' root canal. The goal of Nisha Ganatra's serviceable sequel is to get audiences who love those characters to buy a ticket and hang out with them again. (Everyone — yes, everyone — is back.) There's not that much emotional insight to glean from forcing Lily to become her potential step-grandmother, a stranger she barely knows. There's simply hijinks. Read more: The 18 summer movies we're most excited about The kids, who hate each other, use their adult-shaped opportunity to try to split up their mom and dad so they don't have to be siblings, like the screenplay itself is its own swapped inversion of Lohan's other childhood remake, 'The Parent Trap.' They also land good zingers about what Gen Z considers passé. Lily sneers that Facebook is 'a database of old people.' Meanwhile Anna and Tess, who've been through this before, don't have much motivation beyond using their lithe young bodies to ride scooters and scarf cheeseburgers. Editor Eleanor Infante entrusts the movie's energy to montages: fashion shoots, photo booths, feeding frenzies. The storyboards could have been a cheery Instagram slideshow. Anna and Harper's central mother-daughter plot line is so hastily sketched that it barely registers. 'Freakier Friday' is in such a rush to get on with things that we don't get much of a sense of either of their personalities. Anna, who's grown up to manage a needy pop singer named Ella (Maitreyi Ramakrishnan), is your standard earnest mother. Harper, uh, likes to surf. It's no fault of the actors that you have to squint very, very hard to see the girl inside the woman and the woman inside the girl — Lohan is grounded and likable in her big comeback, holding the screen with assurance. But it is a shame that the promising Butters doesn't get the same showcase of her own preternaturally mature talent, other than one scene where she yells and another one where she cries. Tess and Lily are easier to parse. Tess, a therapist, is so certain her opinions are important that she steps on everyone's sentences. Lily is vain and snippy and about as convincingly English as if the only research into her character was a season of 'The Great British Bake Off.' As evidence, there's a bake sale where her treat is accused of having the dreaded 'soggy bottom,' triggering an epically well-staged food fight. Jordan Weiss' script is so tangential to the movie's charms that things would feel pretty much the same if Harper and Lily had traded places, or honestly, if no one swapped at all. People just want to see Curtis and Lohan palling around in a comedy that frames their reunion like it's the Hope Diamond. With both actors confidently cutting loose, their chemistry pulls so much focus that it's a continual struggle to remember the basic conceit. My brain refused to absorb that it was watching Harper as Anna played by Lohan. It just lit up at how nice it was to see Lohan strap on a guitar and sing a couple of songs. Adorably, the numbers Anna wrote in high school for her all-girl band, Pink Slip, went on to become minor hits — when Pink Slip reunites onstage at the Wiltern Theater, the crowd knows their lyrics. Read more: The 27 best movie theaters in Los Angeles Half of Tess' lines are just variations on vain Lily's fear of wrinkles, dentures and suit jackets stuffed with used tissues. 'I'm bloody decomposing!' she wails. The gags are more cruel than clever. But Curtis hurls herself into this schtick with gusto — say, demanding a ring light and lip plumper for her passport photo — and gets you laughing anyway. (As a reward, the costumer Natalie O'Brien highlights Curtis' eternally spectacular curves.) Curtis is having such a blast channeling her inner fashionista that I'd have been content with just a Tess and Lily swap with an ordinary Anna and Harper covering for their chaos before any of the exceedingly patient men in their lives find out. There's so much, and yet so little, happening that the key image of the movie turns out to be an early throwaway joke: Tess driving her granddaughter to school and getting flummoxed by the logjam at a four-way stop. None of these characters has the narrative right of way. When the four women reconvene at a wedding rehearsal dinner, the staging of the restaurant scene is just as frustrating, with the audience staring at everyone's faces, wondering who, if anyone, will take charge. Ganatra is mildly interested in cramming bodies inside another and majorly invested in squeezing as many funny female comics as possible into the running time, with fantastic cameos for Chloe Fineman as a dance instructor, X Mayo as a school principal, June Diane Raphael as a ferocious pickleball competitor and Santina Muha as a lovelorn immigration agent. Bayer is terrific as Madame Jen, the cause of this film's corporal confusion, a flam-flam artist who side-hustles as a barista. The film is safely, studiously PG. When the underage child-women chug glasses of wine, a cutaway assures us its merely grape juice. Anna's former high school boyfriend Jake (Chad Michael Murray) gets roped into the action and I'd bet my own soul that there was once a version where he was Harper's conspicuously unnamed dad. Someone decided it would be too weird that the girl uses her mom's skin suit to flirt with him in the hope he'll disrupt the wedding. The old crank in me wished that I laughed harder than I did. 'Freakier Friday' won't trade places with the original in audience's hearts. But this disposable delight will at least allow fans who've grown up alongside Lohan to take their own offspring to the theater and bond about what the series means to them — to let their children picture them young — and then pinkie-swear, 'Let's never let that happen to us.' Sign up for Indie Focus, a weekly newsletter about movies and what's going on in the wild world of cinema. This story originally appeared in Los Angeles Times. Solve the daily Crossword
New York Post
an hour ago
- New York Post
How to watch ‘Ted Bundy: Dialogue with the Devil' doc for free
New York Post may be compensated and/or receive an affiliate commission if you click or buy through our links. Featured pricing is subject to change. A new Hulu documentary series is unearthing hours of never-before-heard tapes of serial killer Ted Bundy. 'Ted Bundy: Dialogue with the Devil,' which is now streaming in full on Hulu, follows Green River Task Force members Robert Keppel and Dave Reichert as they accept Bundy's offer to help them catch the Green River Killer (eventually discovered to be Gary Ridgway). In 1984, from death row, Bundy offered to aid in finding the Green River Killer, who killed 49 women, primarily in the Seattle, Washington area — where Bundy claimed many of his own victims 10 years earlier. Keppel and Bundy's cat-and-mouse dialogue lasted years, right up until Bundy was executed in 1989. Never-before-heard tapes shape the narrative of 'Ted Bundy: Dialogue with the Devil,' marking a new deep dive into one of history's darkest minds. 'Ted Bundy: Dialogue with the Devil' release date: All six episodes of 'Ted Bundy: Dialogue with the Devil' dropped on Hulu today, Aug. 7. How to watch 'Ted Bundy: Dialogue with the Devil' for free: 'Ted Bundy: Dialogue with the Devil' is exclusive to Hulu. If you're new to Hulu, you can get started with a 30-day free trial on the streamer's basic (with ads) plan. After the trial period, you'll pay $9.99/month. If you want to upgrade to Hulu ad-free, it costs $18.99/month. If you want to stream even more and save a few bucks a month while you're at it, we recommend subscribing to one of the Disney+ Bundles, all of which include Hulu. These bundles start at $10.99/month for ad-supported Disney+ and Hulu and goes up to $29.99/month for Disney+, Hulu, and Max, all ad-free. 'Ted Bundy: Dialogue with the Devil' trailer: Why Trust Post Wanted by the New York Post This article was written by Angela Tricarico, Commerce Streaming Reporter for Post Wanted Shopping, Page Six, and New York Post's streaming property, Decider. Angela keeps readers up to date with cord-cutter-friendly deals, and information on how to watch your favorite sports teams, TV shows, and movies on every streaming service. Not only does Angela test and compare the streaming services she writes about to ensure readers are getting the best prices, but she's also a superfan specializing in the intersection of shopping, tech, sports, and pop culture. Prior to joining Decider and The New York Post in 2023, she wrote about streaming and consumer tech at Insider Reviews
