A corporate reset that began with Bob Iger is now accelerating under Josh D'Amaro, as The Walt Disney Company pushes deeper into a period of restructuring that is reshaping everything from its workforce to the future of the Marvel Cinematic Universe.
When Iger reassumed control in 2022 following the exit of Bob Chapek, his mandate was clear: stabilize the company and refine its creative and operational focus. That meant doubling down on established franchises like Toy Story and Frozen while reassessing how Disney’s major divisions functioned—particularly Marvel Studios.
For Marvel, the past few years had been defined by rapid expansion. Beginning in 2021, the studio attempted to maintain a constant presence across both theaters and Disney+, weaving interconnected narratives that spanned multiple formats. But the strategy proved difficult to sustain.
Some Disney+ series failed to capture widespread attention, while others became essential viewing for understanding theatrical releases—creating a barrier for more casual audiences. As confusion grew, so did hesitation, with some fans opting to delay theater visits and wait for streaming availability instead.
Criticism also centered on the studio’s heavy reliance on familiar characters and follow-up installments. In response, Marvel began reworking its approach.
As Brad Winderbaum (Head of Streaming, Television and Animation, Marvel Studios) explained in 2024, the studio would shift toward a development process where not every concept is guaranteed to reach production—a significant departure from its earlier volume-driven model.
The results have been immediate. After releasing three films in 2023—Ant-Man and the Wasp: Quantumania (2023), Guardians of the Galaxy Vol. 3 (2023), and The Marvels (2023)—Marvel scaled back in 2024, delivering only Deadpool & Wolverine (2024), directed by Shawn Levy. While 2025 saw a temporary uptick, those projects were already well underway before the shift took hold.
The upcoming slate reflects the new direction. This year includes Spider-Man: Brand New Day (2026) and Avengers: Doomsday (2026), followed by a single confirmed release in 2027: Avengers: Secret Wars (2027).
On the small screen, VisionQuest is expected later this year, joining Wonder Man and Daredevil: Born Again Season 2. Together, these projects signal a more measured pace for Marvel storytelling. That same philosophy—doing less, but with greater focus—is now influencing Disney’s broader corporate strategy.
D’Amaro has confirmed a major round of layoffs affecting around 1,000 employees, marking a pivotal moment early in his tenure as CEO. The decision, which had been widely anticipated, is already being implemented. Employees across the company have begun receiving notifications as Disney undertakes a significant restructuring effort.
In a company-wide message, D’Amaro acknowledged the human impact of the move while emphasizing the necessity of adapting to industry changes. The tone reflected an attempt to balance empathy with the realities of running a global entertainment giant.
The majority of the layoffs are focused on marketing operations, though the cuts extend into other areas. Disney is also eliminating open roles, reducing future hiring needs as part of a broader effort to streamline operations.
Leadership has pointed to several factors driving the decision, including evolving audience expectations, technological advancements, and the need for more cohesive brand messaging across Disney’s global footprint. The goal: create a more centralized and efficient organization.
D’Amaro’s leadership transition adds another layer of significance. Having taken over in early 2026 after Iger’s stabilizing return, the former head of Disney Experiences was seen as a continuity candidate. This move, however, highlights his willingness to make bold structural changes.
New reporting from The Wrap reveals that Marvel Studios has been directly affected by the layoffs, reflecting the studio’s reduced production slate.
“Disney layoffs impacting 1,000 employees got underway Tuesday, affecting several entire divisions of publicity, Marvel and some noted lieutenants of Asad Ayaz, the company’s chief marketing and brand officer,” The Wrap wrote earlier this week.
The cuts span multiple departments, including publicity teams and the complete removal of Disney’s home entertainment division. Marvel’s workforce has also been reduced across various functions.
“Marvel also felt the impact of the layoffs, although Disney disputed a report that the number of impacted reached 8%, telling TheWrap it’s ‘much smaller,'” the report notes. “The layoffs did impact Marvel employees in both Burbank and New York, across most areas of the division–film and television production, along with comics, franchise, finance, and legal.”
According to The Wrap, the reasoning ties directly to Marvel’s shift in production strategy.
“TheWrap was told this was the result of an overall reduction in Marvel’s film and television production slate, artificially inflated in years past by the desire for fresh product for Disney+,” the outlet explained, “plus efficiencies from the integration of Marvel Entertainment into Marvel Studios and the aforementioned emphasis on operational efficiency and cost management.”
As Marvel scales back and Disney reorganizes, the long-term implications remain uncertain. The studio’s interconnected storytelling model is being reworked, while the company itself is adjusting to a rapidly changing entertainment landscape.
For D’Amaro, the message is clear: the next chapter of Disney will prioritize efficiency, clarity, and a recalibrated connection with audiences—even if that path comes with difficult trade-offs.
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