Compared to the output of those studios, their release of animated films has been at a crawl. Even the success of Frozen, the closest they've come in decades to reaching cultural saturation with their trademark animated fairy-tale music formula, has yet to be followed up on. Heck, when they absorbed Pixar in 2006, they named John Lasseter (who they had once fired for his ideas) as their new overseer. Think about that: They fired the man who came up with The Brave Little Toaster and years later, he's their boss. Which ... is kind of the plot of that movie. Metaphorically. If you think hard enough. Yeah, I don't care if I'm forcing meaning there.
This man needs a shirt intervention.
When a company is forced to put their arch-rival and former cannon fodder in charge, it doesn't usually mean they have a lot of good ideas of their own. However, it does mean that they're at least willing to acknowledge that he might know something they don't. Which is good, since all they seem to do anymore is churn out an endless barrage of live-action remakes of movies that were hits decades ago.
Depending on reports, there are between 19 and 22 live-action remakes of classic Disney films scheduled for the next ten years. Keep in mind, they don't seem to have any plan to make this all an enormous shared-universe concept, like Marvel Studios has done and Warner/DC is attempting. Disney seems to be fully prepared to spend the next decade of their existence as the most iconic animation studio in the world doing nothing but re-hashing their old films for nostalgia points. If Beauty And The Beast, their most successful live-action remake thus far, is any indication, they're going to tell exactly the same story, down to costuming and choreography. They'll throw a gay character in there for some overhyped, underwhelming inclusivity, but that's it. Nothing new.
At best, Disney is trying to add a touch of spin to some of their warmed-over remakes, and here's the bad news about something I was already telling you was bad news: They're already running on fumes.
The height of creativity for modern-day Disney is Tim Burton's increasingly hackish vision for Alice In Wonderland, and Maleficent, a prequel to Sleeping Beauty. Burton's been spinning the same Goth-lite visuals and Johnny Depp antics for decades now, and there might be no cinematic storytelling technique as despised as a prequel, even one starring Angelina Jolie's CGI cheekbones. They can thank George Lucas for torpedoing that concept before selling them every other good idea he ever had.