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It’s a truth universally acknowledged that guests of the fictional luxury chain The White Lotus aren’t meant to live an uncomfortable life.

So who can blame the cast of Mike White’s hit satire for enjoying some downtime at another pricey vacation resort – Disneyland Paris?

Season 4 cast members Laura Dern, AJ Michalka and Marissa Long were spotted at the Mouse House’s French outpost on Sunday, apparently on a break from filming the latest season, which is set in the south of France.

The trio were among a larger group taking photos with a Minnie Mouse mascot – who was decked out in a chic salmon dress with Breton stripe detail topped off with an Eiffel Tower-themed fascinator — by the park’s famed Sleeping Beauty castle. Fellow Season 4 cast members Ben Kingsley, Max Greenfield and Vincent Cassel did not appear to have joined the outing.

The show has been filming in Paris since the start of summer, and is shooting interiors at the posh Hôtel Lutetia and at theBry-sur-Marne studios on the outskirts of the French capital. Previous productions that have shot there include the Canal+ series “Marie-Antoinette,” as well as Pathé’s big budget period movies “The Count of Monte-Cristo” and “De Gaulle.” When they’re not filming, “The White Lotus” cast and crew have been living the lives of everyday tourists while staying at another five-star hotel that’s mostly under-the-radar and paparazzi-free, located on the right bank, near the Seine river.

Production is set to head back to the French Riviera for final shots, at the Martinez hotel, as well as in Monaco, where they previously filmed on a yacht and in Nice where they shot at the airport with scenes featuring Laura Dern – who took over from Helena Bonham Carter at the start of production and is rumored to be playing a fading star chasing a comeback — and Heather Graham. Dern has also been spotted at Roland-Garros, the French tennis open, on different occasions, with her daughter Jaya Harper, as well as Michalka.

The highly anticipated new season of “The White Lotus” sees the popular HBO show decamping to Cannes, where it will follow two rival filmmaking teams as they compete for the festival’s top prize. And of course the mis en scène — comprised in Season 4 of a palatial hotel on the Croisette and a luxurious hilltop hideaway — are as central to the plot as the characters.

As Variety previously reported, Saint-Tropez’s Château de la Messardière will play the White Lotus du Cap while the Hôtel Martinez stands in for White Lotus Cannes. The show went into production in April and shot during the Cannes Film Festival earlier this year to capture some of the hustle and bustle of the iconic event. It also shot at the Palais des Festivals for what appeared to be pivotal scenes unfolding during a fictional closing night.

While it’s unlikely Disneyland Paris will feature in the series, given it’s owned by a rival studio, its staff could no doubt give the cast of “The White Lotus” an insight into what it’s like to work at a luxury resort. Its flagship five-star Disneyland Hotel, which sits above the entrance to the theme park, re-opened in 2024 after a three-year renovation with a renewed focus on luxury.

As well as a spa and styling studio it also boasts a pillow menu, offering guests seven types of neck support, while general manager Majbritt Iaconis previously served stints at the Ritz and the Mandarin Oriental. For guests, it’s a very comfortable life indeed.

Netflix is handing its Spanish-language Oscar hopeful “La Bola Negra” the longest theatrical runway in the streamer’s history.

The queer epic from Javier Calvo and Javier Ambrossi, the Spanish duo known as Los Javis, was originally slated to open in theaters Nov. 6 ahead of a Dec. 4 streaming bow. The film will now arrive in theaters Oct. 16 and land on Netflix Dec. 2, a 47-day exclusive window and the widest theatrical commitment the company has given one of its titles to date. The previous record-holder belonged to Noah Baumbach’s relationship drama “Marriage Story” which had a full 30-day window in 2019. Other notable wide releases included Martin Scorsese’s “The Irishman,” which Netflix gave a 27-day window the same year, and Alfonso Cuarón’s “Roma,” which played roughly three weeks in 2018 before streaming.

The move underscores how selectively, and how aggressively, Netflix has begun courting exhibitors on prestige plays. David Fincher’s still-untitled continuation of “Once Upon a Time in Hollywood,” written by Quentin Tarantino and starring Brad Pitt, opens Nov. 25 for an exclusive two-week global Imax engagement before streaming Dec. 23. Greta Gerwig’s “Narnia: The Magician’s Nephew” follows Feb. 12, 2027, the first Netflix release to receive a conventional theatrical rollout, with a 49-day window preceding its April 2 streaming debut.

Netflix landed U.S. rights to “La Bola Negra” at the Cannes Film Festival following a competitive bidding war, after the film premiered in competition to a standing ovation and went on to tie for the festival’s best director prize.

The streamer has since acquired Canadian rights as well. The film is set to screen in the Toronto International Film Festival’s Special Presentations section, where star Penélope Cruz, who won the best supporting actress Oscar for “Vicky Cristina Barcelona,” will receive a Special Tribute Award at the TIFF Tribute Awards.

Directed, co-written and produced by Calvo and Ambrossi, “La Bola Negra” (“The Black Ball”) spans 85 years of Spanish history, from the ’30s to the present day, and draws on an unfinished fragment by poet and playwright Federico García Lorca. The ensemble includes Spanish musician Guitarricadelafuente in his acting debut, “Elite” actor Miguel Bernardeau, Carlos González, Milo Quifes, Lola Dueñas, Julio Torres, Cruz and Glenn Close.

The film is one of the streamer’s awards priorities for the fall, which will also include the Fincher sequel, Danny Boyle’s Venice Film Festival opener “Ink,” Peter Berg’s war drama “The Mosquito Bowl” and Marie Kreutzer’s “Gentle Monster,” also a Cannes acquisition.

In his review, Variety film critic Guy Lodge wrote there is “enough confidently muscular filmmaking here” to make the directors’ next move worth watching, praising the film’s attempt to trace the connective tissue between generations of gay Spanish men.

The film is a Movistar Plus+ Original Film in collaboration with Suma Content Films, produced by Telefónica Audiovisual Digital and Los Esquiadores AIE, and co-produced by El Deseo and Le Pacte, with the participation of Atresmedia and CREA SGR.