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The camera was rolling when the Gallaghers made up.
An upcoming Disney+ documentary on Oasis has captured the moment Liam and Noel Gallagher reconciled after 15 years without contact, Angela Jain, head of content for
Disney+ EMEA, revealed Wednesday at the Edinburgh TV Festival’s Spotlight on Disney+ session.
“This is the story of two brothers who, I think, we all have heard of, who didn’t talk to each other for 15 years, and that moment of reconciliation is captured on camera,” Jain said.
“I’m in,” Jain said, recalling her response when VP of unscripted originals Sean Doyle first brought her the project. “Everyone is going to talk about this doc.”
Jain said she and Doyle were confident the film, titled “Oasis: Don’t Look Back in Anger,” would connect with audiences, and that the trailer release had reinforced that belief.
Beyond the Oasis project, Jain laid out a sweeping expansion plan for Disney+’s local originals slate across the U.K. and Europe. She cited a target, previously stated by Disney CEO Josh D’Amaro on earnings calls, to triple the number of local originals globally.
“To commission hit shows,” Jain said when asked to state her strategy. She added that nearly 40% of Disney+ viewers fall between the ages of 16 and 34, which she identified as a key opportunity for original local programming.
On the scripted side, Disney+ VP of scripted Lee Mason flagged that sophomore series “Rivals” had performed strongly, with part two of Season 2 set to launch in the fall following part one’s summer debut. Mason also revealed that Disney+ had greenlit “Mad Love,” a new comedy-drama written by American playwright Kate Cortesi, in which a young woman takes a job with a wedding planner in Italy. The project joins “Dad,” a family comedy-drama commissioned earlier this year from writer Cam Garrity and produced with A24, in which a grown sibling group discovers their father is a murderer. “Extraordinary” will also return for another series.
Mason said he would look more actively at programming for 16-to-34-year-old viewers, though he was careful to distinguish that move from a straightforward pivot toward young-adult content. He identified the sci-fi, fantasy and superhero space as well-served elsewhere on the platform, suggesting original productions should be additive rather than duplicative of Disney’s studio output.
Jain noted that greenlight authority for the full slate sits with her and the U.K. team, which she said also covers seven other markets across Europe.
