Tuesday, October 17, 2017

YouTube Tuesday #15: Billion Dollar Fun: Creating the Film-Based Attractions at Universal Studios

Okay nerds. The Islands of Adventure design and construction footage is at 1:10, 25:10, 27:52, 40:00, and 44:45. We know that's why you're here. 

Jonathan Green (@JonathanGreen85):

Universal Studios Parks and Resorts, more specifically Universal Studios Hollywood was a playground for me growing up. My dad worked for Universal from 1969-1994 and for the last nine years of his tenure there, Universal was my home. My passion for the theme park industry began and my love for Universal was born. So many films that I grew up with, I wanted to experience and be a part of…from flying in a DeLorean to battling a Great White and even soaring to new worlds with E.T. When Walt Disney created Disneyland, his attractions weren’t only just based off of films. However, when Universal created its first park back in 1964, movies were the very foundation for which the tour was created.

Under the direction of Jay Stein and now Tom Williams, Universal Parks and Resorts have aimed at taking some of the more popular films and bringing them to life in new and inventive ways. But it didn’t quite start with either Jay or Tom; in fact it didn’t even start with Walt Disney. It began with Universal Studios founder Carl Laemmle. In 1915 Carl Laemmle moved Universal Pictures from New Jersey to the San Fernando Valley in California.

Carl Laemmle’s idea was to give paying customers a chance to see movies being made. As most already know, guests paid twenty-five cents and were given a chance to watch some of the many silent films that were being filmed on the Universal lot. On top of the opportunity they were also given a sack lunch. Since this was during the silent film era, multiple films would be shot on adjoining streets and guests could cheer and boo all they wanted. However, in 1927 the first talking picture The Jazz Singer debuted, which effectively ended the silent film and the opportunity for guests to get up-close and personal with the movie making process.

Fast-forward to 1964 and you come upon two men in Jay Stein and Albert Dorskind. Both Jay and Albert were the ones who decided to bring back what Laemmle originally wanted in giving the public a glimpse of what the movie process was like. However, Jay Stein didn’t stop at just the idea of creating a tour, he wanted an experience. And with that idea, the Universal Studios Tour was born.
There’s something intriguing about watching a movie being made, however, the connection with the audience won’t happen till the movie comes out in theaters a year or so later, the idea was then to bring to life some of the most memorable films of all time, so guests can be thrusted into their favorite films.

That brings us to this week’s YouTube Tuesday video. During the late 1990s TLC aired an episode of Billion Dollar Fun, which focused on Universal’s push into the real art of not only making movie based attractions, but to also figure out which films will be a success and turns those movies into high-quality attractions. The video takes a look at the early entries of Universal’s attraction such as King Kong, Earthquake, Jaws and even a few from the 1990s like Jurassic Park River Adventure, Terminator 2: 3D Battle Across Time and Twister: Ride it Out.

As a child of the 1980s, Universal Studios Hollywood Studio Tour had a profound impact on me. Every visit to the park had to include a ride aboard the tram. Where else could I come within three feet of a thirty-foot tall, six-and-a-half ton animatronic King Kong or experience an 8.3 Earthquake. These were just two of the many attractions you’d see aboard the Universal Tour. The complexities behind King Kong and Earthquake are incredible especially for its time.

During this time Universal was never satisfied with where they were. The competition was strong even in the eighties, so Universal went out and worked with some of the best talents in the industry like Gary Goddard from The Goddard Group and Phil Hettema who during the 1990s was Vice President of Universal Creative.

One of the first attractions Universal began working on while the film was being shot was Backdraft, which opened in the Lower Lot of Universal Studios Hollywood in July 1992. While the basic idea of going through several rooms before entering the final scene and boarding a ride wasn’t new, Backdraft stood out from the likes of Earthquake at Universal Studios Florida, where you entered the final scene which was a recreation of the climatic finale from the film, in which you experience a warehouse explode into a blaze of fire with catwalks collapsing and floors dropping beneath your feet.

While if you’d never been to Universal Studios Hollywood to see Backdraft in person (attraction closed in 2009), you probably experienced one of the many different versions based off of the same idea whether it be Twister at Universal Studios Florida, Light’s Camera Action Starring Steven Spielberg at Universal Studios Singapore or even Armageddon at Walt Disney Studios in Paris. They were all developed with the notion of putting you right in the middle of your favorite films or what a disaster film might look like.

When you’re a theme park and deciding which movie you want to be your next big themed attraction, usually you want some assurances that the film has done well at the box office and in turn will be a success at the parks. Universal took a major gamble when they began developing two attractions before the films had been released. Jurassic Park and WaterWorld, both ride and show respectively, were well in development before the films were released. One film was obviously a monstrous success while the latter (WaterWorld) ended up being the biggest theatrical flop in Hollywood history at the time. What’s funny about WaterWorld is that the theme park show is more popular than the film. The show is currently in its twenty-second year as of 2017.

Jurassic Park River Adventure, which was originally designed for Universal Studios Florida, but opened in Hollywood first in 1996 was being conceptualized during the production of the film, which Spielberg states in the video “It’s not that we’re anticipating a big success (film), but it was such a natural fit…What if the theme park (ride) is more successful than the movie.”

The video tackles two more important additions to Universal’s attraction count, Terminator 2: 3D Battle Across Time and Twister: Ride it Out. Terminator was an incredible task to undertake, many different versions were story boarded including one, where Terminator was to replace The Adventures of Conan inside the Castle Theater at Universal Studios Hollywood. Eventually the show was settled on for Orlando first then three-years later for Hollywood. The sixty-million dollar attraction for Orlando “marked the first time a film’s cast and creative team combined to bring motion picture to life” according to the official Universal press release. The show was the most expensive live action film ever produced as of 1996.

For Universal, it began with Steven Spielberg helping out in the design phase of attractions and within just a few years; entire films cast and creative were designing and starring in attractions. And now, it’s almost unheard of for a director or cast of a franchise to not be involved in the creative process for rides and shows.

Universal Parks and Resorts are an ever-changing beast. For fans that grew up with the parks, there’s not much left to hold on to as Hollywood only has two attractions on the Studio Tour left from the 1980s in Flash Flood and Earthquake and one show in Animal Actors. In Orlando, only The E.T. Adventure, Animal Actors and Horror Make-up show are left from opening day.

When you’re a theme park based solely off from movies, you must stay current with films that age well and have a long generational span. Which makes this video from TLC a worthy watch. To see the creative process in deciding not only which movies will be a success five or seven years from when the come out, but movies that will span decades.

"Billion Dollar Fun" should really be named "Universal Studios Florida Propaganda Film Late 90s Edition". This special has more similarities to Disney's own productions than prior TLC and Discovery Channel specials. Additionally "Billion Dollar Fun" is a lost tomb of theme park attractions and concept art that transcends beyond its limited theme park focus.

Of the attractions featured in this special only two remain: Jurassic Park River Adventure and The Incredible Hulk, and the Hulk was rebuilt with new show elements! Universal's willingness to rebuild and replace is both a boon and curse on the parks. The parks remain fresh and stinkers of attractions are replaced at a regular interval but no one attraction can transcend its own opening hype to become a classic. While a Disney's Hollywood Studios special produced in 1998 would be nearly identical to the park as it is run even just two years ago, "Billion Dollar Fun" produced around 1998 is completely out of date now.

"Billion Dollar Fun" focuses on the gospel of theme park attraction as movie marketing, not nostalgia fueled pieces of Americana. In a way, the lack of romance has been the differentiating factor Disney fans tend to dislike the most. Executives keep hammering home the idea of movie making and theme parks.

The actual show tackles five major Universal projects over the course of development: Back to the Future: The Ride, Jurassic Park River Adventure, T2:3D, Twister: Ride it Out, and all of Islands of Adventure. Each attraction's development process and history is covered and the now familiar talking points are covered: T2:3D is the most expensive film ever made per minute, Twister recycles tons of air, Jurassic Park ride was in development concurrently with the movie, and more. And Stan Lee's enthusiastic proclamation that Islands of Adventure's Marvel Super Hero Island will be so good that Universal should get tax exempt status because of the good it will bring to humanity (instead Universal just gets cuts and funding thanks to the "high crime" area laws). Seeing original concept video, concept art, and opening year video from the two Universal parks is also worth its weight in gold.

Overall the special feels flat and one note, it highlights the need for parks to constantly refresh (this should have been shown to Disney) with any and all justification being long lines. Interviews with Gary Goddard and others from Universal Creative are fun but lifeless in filming. These specials have changed so much in 20 years now focusing as much on guests and cast members as much as movie directors and attraction designers. "Billion Dollar Fun" is worth it for the rare footage and crazy interviews but not much else.

Film-based attractions certainly aren’t a new phenomenon. Even before Walt took us on electric busbar-powered trips through Neverland, Wonderland, and Toad Hall, there were exhibits and funhouses throughout the country’s amusement parks, expositions, and World’s Fairs to take audiences into the world of a movie. Even the premiere of Snow White at the Carthay Circle featured a Disney-sponsored miniature Seven Dwarfs cottage for kids to play in.

We’ve always been hungry to jump into the world of the movies. We’ve always wanted to roleplay the part of Luke Skywalker or Princess Leia or Han Solo and fight off the Stormtroopers. We’ve always wanted to immerse ourselves in a world that seems more exciting than the one we currently live in. And now, like video games and RPGs, theme park attractions can give us a chance to fully enter and interact with these worlds as if they were real.

If you were to tell someone living in the 1930s that they would be one day able to ride on a tram and be menaced by a stories-high King Kong, what would the reaction be? Talk to someone who has never been to a Disney or Universal park. Tell them they would be able to ride through Gringotts with Harry Potter, or drive through New York with Spider-Man. It’s everyone’s dream come true, really. To be a part of the magic. To be a part of Hollywood.

Walt Disney wasn’t the first to incorporate three-dimensional elements of popular movies, but he certainly was the first to mold it into the familiar theme park format we see today. After all, Indy and Tower and Mania all owe their existence to the seeds that were planted in that original 1955 Fantasyland. Sail through London and Neverland with Peter Pan! Ride through Wonderland with Alice! Quite a hook for an enterprise best known for beer carts and ferris wheels.

What’s interesting to me in the history of movie-based attractions is the fact that Walt and company practically abandoned the idea post-1958. It’s clear he tried to tie-in as many elements of Disneyland 1.0 as possible to pre-existing franchises, partly as a selling point for those unfamiliar to what Disneyland was to be, and partly because he thought it would be fun for kids to walk through Davy Crockett’s world. Remember, even the Jungle Cruise was subtly connected in media to the popular Bogart and Hepburn film The African Queen. But once we get to the Tomorrowland expansion in 1959, we don’t see another new film-based attraction until Pinocchio’s Daring Journey in 1983, with the exception of the Swiss Family Treehouse (and 20k if we discount the fact it’s a re-imagining of the submarine prototype). That’s 24 years with, at most, two new film-based attractions. TWO! Can you imagine if that were proposed at Disney today? Please make sure there are no flammable objects nearby!

And that gets into the real critique of this special, something that Joe also touched on. There’s a real stigma in theme park executive circles nowadays that everything must be based on a pre-existing movie franchise. Indeed, Billion Dollar Fun acts as if movie-based attractions are the only way to go. To be sure, this is mostly because the show is a Universal Studios propaganda piece, but it’s like watching a football analyst go on and on about a team’s high-powered offense without realizing offense alone is not what makes a winning team. With theme park attractions, it’s about putting the audience into emotional situations. It could be scary situations as in a haunted house, or thrilling situations as on a roller coaster, or dramatic situation as in the attractions with more character-based elements. But the film-based attractions are only one way to go of many.

We can easily see the reasons behind making film-based attractions. These attractions come with built-in recognition and emotions in the audience. The merchandise is practically pre-sold. And in an environment where the main cycle of action (aka the ride itself) is only about 4 minutes long, that initial familiarity with the characters can save a lot of time and effort in attempting exposition and setting up the scene. Realistically, it’s much harder to make another Pirates of the Caribbean than it is to make another Forbidden Journey. Creating characters and entire worlds from scratch is not something MBA-schooled executives have the time or the patience for when they can start selling merchandise NOW.

Which brings us now back to Billion Dollar Fun, and my observations. I agree with the show that today’s E-Ticket attractions share a lot in common with Hollywood blockbusters. Neither of them are released in short intervals. Each studio will have only one or two major blockbusters a year, and theme parks (since there is limited space to build and popular E-Tickets bring in far less immediate revenue than popular movies) only release E-Tickets once every 3-5 years (or in Epcot’s case, once every Peter Quill visit).

Both have become billion-dollar industries in themselves, and thus have captured the attention of movie studios. They’re always looking for more ways to make money after all. Especially if you’re, say, Paramount, and don’t currently own any theme parks, you could license popular properties such as Star Trek or Mission: Impossible to Universal for huge fees (plus a percentage of merchandise revenues of course) and have absolutely no downside if the ride flops, since you didn’t spend any money to build the thing to begin with. So this area is a potential cash cow.

I was very impressed with the number of major Hollywood and theme park players TLC was able to put on camera (it seems the earlier the special, the more celebrities were willing to be interviewed). In this special we get not only the ubiquitous Steven Spielberg and Douglas Trumbull Universal interviews, but also Stan Lee, Gary Kurtz (producer of the original Star Wars trilogy), Jan de Bont (director of Speed and Twister), Gary Goddard, James Cameron, and even Dean Devlin and Roland Emmerich (directors and producers of Independence Day, Godzilla, and The Day After Tomorrow).

They all have some very good insights into what makes a film-based attractions so exciting and appealing, as well as where the idea of film-based attractions can go in the future. We’ve always wanted to go to the Chinese Theater to put our hands in the cement, or visit the soundstages where movies are filmed, because we want to get close to our favorite characters and movie stars. Douglas Trumbull relates how his work on 2001: A Space Odyssey prepared him for the potential of audience participation (apparently he had never gone to Disneyland). As we all know, the end sequence in 2001 is completely different from the rest of the movie, being a constant stream of images. It does not have a plot or character development. It is just pure visceral image. The idea being that the audience is the actor. It’s happening to them.

And that’s where film-based attractions, from Mr. Toad to Gringotts, succeed. It’s happening to you. You are Snow White, and in tonight’s episode, you are the star. Trumbull notes that rides are like dreams or out-of-body experiences. They exist in a hyper-reality so beloved by John Hench and other theme park philosophers. Jan de Bont chimes in by saying that audiences “want to be closer to danger.” Rather than simply see the shark attack on the screen, they want the shark to attack them, as long as nobody actually gets hurt, like a good magic trick. Rides based on films work best when a particular visceral action sequence can be identified and connected with the audience’s preconceived notions of the film on which the attraction is based. James Cameron adds that rides “break down the barrier” between the audience and the characters. The audience in T2: 3-D can see the characters jump from the screen onto the stage, and then back. Lines of reality are blurred. And lastly, and I can’t believe I’m saying this, but the producers of Godzilla say probably the most prescient item about this subject, when they mention that a film-based attraction has to be an extension of a movie, not merely the exploitation of a movie. Disney certainly has a lot to learn in that area nowadays. But it’s certainly correct. I’ll be nice here and point out that the most successful film-based attractions, especially recently (Forbidden Journey, Gringotts, Flight of Passage) are extensions of the movies they represent, with new scenes and actions by the characters. They are not merely there to be a “Harry Potter ride.”

So where is this technology taking us, or, more specifically, where does our celebrities think the technology will take us? Douglas Trumbull thinks that there is the possibility for an audience member to have a one-to-one encounter with Harrison Ford or Harry Potter, where the characters directly interact with you (you know, all these other people think I’m talking to them…). Jan de Bont wants to take the theme park potential beyond the berm and into the movie theater. For Twister, he wished every theater could have moving seats, blowing air, and the smell of the humidity so the audience can better feel what the characters were going through. I guess we still have yet to figure that one out. But things to think about for you future three-dimensional entertainment designers.

And finally, it’s time to comment on all the randomness found in the video. I know this is what you came here for. So, answer me this, nerds: what was that Batman simulator footage found at 00:45? Was that a simulator or a 3-D movie? WAS THERE EVER A BATMAN SIMULATOR AS SIX FLAGS?! Because that would have been the biggest “duh” of the early 1990s, but I can’t seem to recall any being there. Does anyone know? Because following the Batmobile doing ANYTHING, even picking up Taco Bell, would have been an E-Ticket simulator experience.

What is that James Bond 007 model behind Gary Goddard during his interviews (at 5:05)? Interesting that this has been in the works at Universal for so long. It looks like it was supposed to be a stunt show, ostensibly in the Waterworld/Miami Vice mold. Was it to be where the current Fear Factor is now? Was it originally supposed to replace Waterworld? Or the Wild West show? I’ve heard Bond is also a rumored replacement for T2: 3-D. Is this concept about to be resurrected?

There are also some juicy rumored “coming attractions” for Universal. Universal scholars will point out that around this time there were plans for an Apollo 13 simulator or roller coaster (or both) and a dark ride based on Stephen King’s horror titles. But I never knew that Lost in Space was considered for an attraction. Or Godzilla. In fact, the last few minutes of the video practically scream that Godzilla will be the next big ride coming to Universal. Oops. Funny how things look from the other side of the fence.

And then, of course, there’s the IOA construction footage. As Joe said, this is theme park gold. Starting at 1:10 we get to see early cinematics of Hulk and Dueling Dragons. Whether intentional or not, they seem like very old versions. They look nothing like B&M designs. The Hulk footage actually looks like a Steel Phantom-Arrow design, and Dueling Dragons I don’t even know what that is. Note that DD in this version only has one track, and flies around the spires of a castle, very Dragon’s Tower-like. At 25:10 we get the whole “building a theme park is like building a city” spiel, but we also get a clue that the video narrator has absolutely no clue about the details of IOA. He calls Dudley Do-Right “this water ride.” He calls JP “Jurassic Park Island,” and mistakes footage of Triceratops Encounter with that of the River Adventure. He also says the parking garages will be so big they will be seen from space (woof).

But the highlight is certainly the action starting at 44:45, aka the tour of the construction site. Here is the buried treasure people. The skeleton of the Hulk structure and the giant JP drop. The producers taking the first long down a half-completed Dudley Do-Right track. The interior of the Spider-Man building before the screens come up. The orchestra rehearsal for the IOA adventure theme and Dr. Doom queue music. And of course, Steven Spielberg being told that B&M SAID THE HULK WAS SUPPOSED TO BE THE KIDDY COASTER, AND THAT THE REAL COASTER WAS DUELING DRAGONS IN THE BACK OF THE PARK. Those were real words said to Steven Spielberg. On camera. You can’t make this stuff up. Only in Billion Dollar Fun. Now playing on your local desktop or mobile via YouTube. Be sure to grab a Coke, popcorn, and candy in the lobby. We hope you enjoy the movie!

--ParkScopeJeff (@ParkScopeJeff)

Thursday, October 12, 2017

Parkscope Unprofessional Podcast Hour #137 - Halloween Horror Nights 27 Review, Pt 2

Now it's Nick and Mike's turn to talk about Halloween Horror Nights 27. Joe has a beer, Nick loves Blumhouse, and Mike does laundry.

Email us at parkscopeblog at gmail dot com or follow us at ParkscopeParkscopeJoeParkscopeNick,  ParkscopeLane, and Sean.

Tuesday, October 10, 2017

YouTube Tuesday #14: Amusement Parks: The Pursuit of Fun

I am very proud to present this week my all-time favorite amusement park special.

Yes, ever.

Discovery Channel started making these amusement park specials in the mid- to late-1990s, with each one upping the last in production values (and that certainly is not an exaggeration). Beginning in 1996 or so, these specials were very spotty in the beginning and looked like closed-circuit TV documentaries. The Discovery team eventually hit their stride in the 1999-2002 time period, which is far and away the “golden period” for these types of specials. But before 1999, we see the first specials, the ones that tread the new ground, like “Wild Rides,” or “Top Ten Coasters,” or “Billion Dollar Fun,” or “Funhouse.” These were the channel’s first attempt to explain the weird and wonderful science and art of the amusement park.

And in 1998, right as Discovery Channel was getting the hang of making these specials, there came a landmark catch-all show that perfectly summed up the complex thinking and exuberant enthusiasm written into the DNA of our favorite thrill places. This show was called Amusement Parks: The Pursuit of Fun.

The format of the show is brilliant. After exploring the excitement people have for amusement parks, and why people continue to visit in record numbers year after year, the show states that there are four major elements that make up a great park. The rest of the run time is given to exploring these four elements, with each section given its own explanation and tie-in with an existing amusement park, which gets the equivalent of a sort of mini-episode. The show features the very best of the old and new: Cedar Point, Kennywood, Knoebels, Busch Gardens, and Universal Orlando, each given its own segment tied into the show’s greater themes. It’s a tour-de-force of amusement park enthusiasm. It’s so hard for me to explain how perfect this 45 minutes is. All the major aspects of amusement parks are covered in a very limited time. Extended time is given to our favorite parks, almost like mini-specials. The whole thing is wrapped up in a very easy-to-follow package, and follows an exciting umbrella theme. And the amount of information presented here is mind-boggling. I would ask you, as an experiment, after you’ve seen the show in full, to just rewind to a random part of the show. Familiarize yourself with where you are, then skip ahead, say 30-45 seconds. Then just look at the time you skipped and realize how much information is packed into that 30 seconds. This is literally a show that forces you to watch every second! I wonder if the Discovery Channel team didn’t know how many more of these specials were to be made, and packed as much information into this one as possible. It certainly gives that impression. We see in-depth looks at Cedar Point’s coasters and midways, Kennywood’s groves and old-school rides, Knoebels’s carousels, coasters, and haunted house, Busch Gardens Williamsburg’s landscaping, and Universal’s new high-tech attractions. All in 45 minutes! It’s in some ways the Snow White or Toy Story for the Discovery Channel specials: a thesis statement and blueprint for all others to follow. And you won’t find an amusement park special better to emulate, that’s for sure.

The Pursuit of Fun perfectly sums up the reasons why we visit amusement parks year in, year out, and how the parks draw us in and entice us for more. Amusement parks are ostensively a place for us to enjoy ourselves, and to have fun with friends and family. The amusement park is designed to place us in situations for us to have “optimum fun.” Rides are built and designed with the question of “how can this be the most fun” in mind. These rides are placed apart at just the right distance so they are far enough away from other rides that we don’t get overwhelmed, but not far enough away to force us to walk a long distance, tiring us out. In between, there has strategically been placed areas for our comfort: benches, restaurants, shows, shops, fountains, boats. It’s all to provide the “optimum fun” for each guest. The choices have been laid out and given, it is now up to us to determine our own path to optimum fun.

And once we are out of the gentle walkways and onto the metal machines, how is our experience transformed? It is a great way to let off steam, first of all, and provide a momentary escape from the drudgeries of adult life. They’re certainly an adrenaline rush that cannot commonly be found in our day-to-day lives. But, as the show tells us, these rides also help us push our own boundaries, past what we felt we could experience before. Remember your first ride on a hyper-coaster? Or your first ride on a coaster with inversions? How did that ride feel? Every truly new ride we experience pushes our boundaries just a bit further. They meet our need to constantly be challenged, and to push ourselves into new territory. And best of all, we share this experience communally, with dozens of other screaming passengers on board. For amusement parks are, above all, a communal experience.

And how do these parks entice us to visit, and to ride? Walt’s weenie theory personally encapsulates this. For amusement parks, roller coasters act as a flashing neon sign, billboards towering over the horizon, advertising the fun to be had within, enticing us through the gates. They promise us bigger and better high-tech fun every year.

And why do we keep visiting, once we’ve spent a day? The main reason is certainly because we had so much fun we’d like to do it again. It also could be for nostalgia purposes, to experience the same rides we did back in the day with our kids. But the parks also entice us back with innovation. Whether bigger or better rides appear on the horizon every year, or there is a new technology available, parks invest in creativity and authenticity to bring us new and unique rides for our riding pleasure. These new technologies allow the parks to offer new and exotic rides every year to push our curiosity and entice us back.

The show’s excellent presentation structure delivers an encompassing amusement park experience in four major sections, presented as elements to the theme park experience: first, the hair-raising thrills, second, the wide midways with savory aromas and classic attractions, third, providing ways for us to cool down on a hot summer’s day, and fourth, providing a communal experience for us to share our fun with friends and meet new people. These four elements are an excellent starting place for those looking to understand the allure of amusement park fun. One could do worse than to stick to these simple ABCs when designing rides or entire parks.

The thrill rides portion is dominated by Cedar Point (Magnum and Raptor) and Kennywood (Steel Phantom and Thudnerbolt). In it, the show explains how and why the thrill rides are the main attraction in an amusement park visit, as well as the history of the thrill rides from the original Expos and World’s Fairs to Coney Island, then to Disneyland, then to the parks of today. The emphasis, of course, is not just on thrills but also on innovation. From the invention of the Ferris Wheel to the Magnum, innovation has always been a major part of the thrill landscape, a fact many designers somehow forget nowadays.

The midways of the amusement parks have many purposes. They must be wide and inviting to keep people moving, but also be high energy, with bright lights, kinesthetic motion like a good swing ride, and the coasters abutting the midway and roaring overhead. The midway section is not only packed with the history of Kennywood and Knoebels, but also the explanations of just how many components can be packed onto a midway. There are train rides, swing rides, and coasters. There can be action shows in man-made lagoons, or roving marching bands. Fountains. Carnival games. Woods and trees. Savory aromas and classic foods and treats. Flowers. Bells. Fiber Optics and statues. Old rides can provide kinesthetic amusement, like Kennywood’s Turtle Ride or The Whip. New high-tech thrills can soar over the midway, like the Skycoaster, providing good people-watching. Or, the midway can also provide quiet leisure, a place where people can reconvene after a ride, and where old people can sit on a bench. But the beating heart of the midway arteries, we are told, is the carousel. Knoebels’s famous brass ring carousel provides the example. The sound of a carousel organ is an amusement park staple. People are unconsciously drawn to the carousel, and a park cannot survive without it. It’s telling that, on some amusement park surveys, carousels are more closely identified with amusement parks than the roller coasters.

There is no better place for Discovery Channel to explain the process of cooling people off than Busch Gardens Williamsburg. Amusement parks are open during the hottest times of the year, and they are behooved to allow their guests to cool themselves off for maximum comfort. How many different ways can you think of to cool off at a park? You can grab some ice cream. You could dip your hand in a fountain. There are plenty of rides that get you soaked: log flumes, rapids rides, shoot the chutes, and inevitably some water squirt-gun action in the kids area. But did you think of the experiences that get you out of the heat? How about the Sky Tower? Or the simulators and 3-D movies? There are rides like the swings, the parachute drop, or the skyway that cool you down. And at Busch Gardens, the amazing landscaping provides excellent shade, the gigantic air-conditioned restaurants provide great entertainment, and Escape from Pompeii provides not only air-conditioning but also a giant splashdown. (Too bad this show was created before Islands of Adventure opened. Be careful not to drown this time, kids!)

We sometimes forget one of the best traits of an amusement park is the opportunity to have fun with friends and meet new people. And yes, parks do try to communize the experience as much as possible. After all, it’s a very rare ride that allows only one passenger per car. A typical coaster usually has more than a dozen. And with this experience, parks also have certain ways to get people closer together. The classic example, of course, is the bumper cars. But there are also fun houses, carnival games, dark rides, and haunted houses. These experiences create memories real fast, and can introduce you to some new friends who share in your excitement or sheer terror.

Finally, as if the show hadn’t explored the amusement park world enough, it ties back to the original segment of innovation, surviving danger, and pushing our limits of trauma by diving into Universal Orlando and exploring the techno-rides available there, from T2 to Jurassic Park, and how they tie in all the elements that have been explained so far.

I hope you’ll agree that Amusement Parks: The Pursuit of Fun is a perfect example of what the blueprint of what a good amusement park documentary should be. I usually watch this show every Memorial Day weekend, right as the coaster season begins. I’ve never seen any show that gets me more pumped to visit the parks than this one. Off to ride!

Sunday, October 8, 2017

The Hidden Rides and Themed Attractions of...New York

Home to what is probably the cultural capital of the world, New York City, and also somewhere there's a bunch of other urban areas you frequently forget about (Albany, Buffalo, Syracuse, Rochester, and more!), New York is neither New England, the Rust Belt, nor the Mid-Atlantic. It's all of those things at once. Amusement and theme park culture in America was born here at Coney Island, a beach community in the borough of Brooklyn back in the later half of the 19th Century, and the area around it became home to many of America's major ride manufacturers. Coney Island is still there: the Cyclone and Wonder Wheel (on which Mickey's Fun Wheel is based) are National Historic Landmarks and still plugging away, surrounded by a ton of new rides from the folks at Zamperla who've helped revitalize the region and bring it to a glory it hasn't seen since the 1950s. 

The "known" of the state ties back to Six Flags: Darien Lake used to be part of the empire, but it has since been dispensed of and gone through a series of private equity owners interested in its unique combination of campground, hotel, concert venue, and amusement rides. Standouts include the world's first Intamin hyper coaster, Ride of Steel (Superman branding disappeared with the six flags) and the wacky cult favorite kids ride "Moose on The Loose." Still part of the corporation is Great Escape in Lake George: formerly a family run storybook park, Premier Parks bought it from the Wood family in 1996. There haven't been that many changes to it since, with the park still retaining a family park feel instead of a big thrill facility. The Schmeck Comet, formerly operational at Crystal Beach, runs here and is still lauded by many as one of the best classic wood coasters in the world. 

But there is more: so, so much more. With perhaps the exception of Pennsylvania, no state in the union has a better attachment to the history of amusements than New York. It then unsurprisingly contains many examples of classic rides, attractions, and even shows that are often otherwise lost to time. Lake George is home to one of these examples in another storybook park called Magic Forest. An accompaniment of fairly general kids rides, the "safari" train ride with its statues, and fairy tale displays with primitive animatronics are, in and of themselves, rarities. But then there's the diving horse. Yes. A diving horse: one that jumps off a ledge into a pool of water. West of Magic Forest is another storybook park with a strong aquatic retro feel, Enchanted Forest Water Safari in Old Forge. Rather than diving horses, it has an unmatched array of classic concrete water slides; most with heated water!

Western New York has plenty of history to celebrate too. The Herschell Carousel Factory Museum in North Tonawanda details the history of one of the most important ride manufacturers in American history featuring both fully restored and operational kiddie rides as well as a full size carousel. Midway State Park features a small amusement park operated by government this way too on the banks of Chautauqua Lake. Perhaps its most impressive feature is the roller rink/ballroom, a gorgeous facility that closed when the park transferred to public hands in the 2000s but is kept maintained for the time being. Amusement rides and games are still available. Another lake (Oneida) is the location on which Sylvan Beach runs. This complex is actually operated by multiple concessionaires, and there's a 100+ year old carousel, electromechanical games of chance such as Fascination, and a full size steel roller coaster. The park is probably most well known for its Pretzel dark ride, Laffland, mostly untouched in the many decades since its construction.

Two "full size" parks also celebrate the history of amusements in the region. Seabreeze outside of Rochester opened its gates back in 1879, and features all sorts of goodies. There's Bobsleds, a junior wood coaster that was converted to tubular steel in the late 1950s. There's the Jack Rabbit, a terrain wooden out-and-back from Miller and Baker. The train opened in 1974, but the rolling stock seems much, much older. The carousel also looks older than it actually is: the original burned down in a fire, and craftsmen meticulously went about recreating it. Today the building is much more fire resistant and that's good considering how many pieces of carousel music the owners store here. It's practically a museum to carousel and automatia. If you can believe it, the oldest mini golf in the US (Whispering Pines) is within walking distance of Seabreeze - and it is tough. Fantasy Island on Grand Island near Niagara Falls has undergone their fair share of name changes (at one point being "Two Flags Over Niagara") and ownership (now part of Apex), but still hasn't lost its identity as a family park with unique attractions like canoeing. The Silver Comet wood coaster is based roughly on the Crystal Beach Comet (yeah, like the same ride at Great Escape!) but focuses more on laterals than airtime. And it runs really well. 

In a superior fashion to most states, New York meets the needs of the smaller markets better than almost any other in the union. Eldridge Park in Elmira (just south of the Finger Lakes) doesn't have a lot, but it does have a carousel, really nice set of Flying Scooters, and several other kiddie rides that most small cities would adore having. Upstate in Albany, Huck Finn's Playland saved most of the rides from Hoffman's Playland (minus the Lusse Bumper Cars) and keep them up and running from Memorial Day into early October. Bigger than both combined is Adventureland in Long Island, which will be getting a new dark ride for the 2018 season and received a Gerstlauer spinning coaster in 2015. But all of these pale next to the County-owned Rye Playland. Filled with classic Art Deco architecture, a gorgeous beach, classic arcade games, and great old rides, Rye is a gorgeous throwback. There's three dark rides, a smooth and fast wood coaster (Dragon Coaster), and the best Derby Racer anywhere. If you've never gotten a chance to go, you can see video of it as a focal point in the film Big. Yeah, that amusement park on the beach? Big.

Tuesday, October 3, 2017

YouTube Tuesday #13: Extreme Rides 2000

If this doesn’t get you excited about going to amusement parks, nothing will.

This is my favorite of the Discovery Channel’s Extreme Rides/Wild Rides series. It’s the one I always come back to when I want to get excited about the upcoming summer season. Back in the late-1990s/early-2000s, Discovery Channel (and its Travel Channel and TLC counterparts) became obsessed with amusement parks and roller coasters. Every Memorial Day there would be a “Thrills, Chills, and Spills” marathon, where there would be several new roller coaster and amusement parks shows. There was always a new “Top 10 Coasters” type show, which would mostly be touting the newer coasters that debuted the previous year (funny how the list of Top 10 coasters seemed to move around every year. I remember The Beast would jump in and out of the Top 10 on an alternate basis…was turnover for Discovery Channel writers really that high?). There would also be a new highlighted theme or amusement park. You’ve already seen our entries (listed on the bottom of this column) for Disneyland Paris, Magic Mountain, and Busch Gardens, but there are quite a few more that will be upcoming.

But my favorite ongoing series was always the Extreme Rides series. This series would feature the most cutting-edge rides from the past year, with interviews with the ride designers and the ride’s biggest fans. This would of course follow (most of the time) with an on-ride POV. There would be stories of the park the ride’s featured in and the background of how the introduction of the ride came to be. And of course, at the end of the show, there would be a preview of the extreme rides of the upcoming year.

Extreme Rides 2000 is the “Star Trek II: Wrath of Khan” of the series. The features are fun, the interviews are great (with some special guest stars), it runs the gamut from coasters to amusement rides to themed rides. If the Discovery Channel just made an Extreme Rides show every year, that’s all I would ask of them. I wouldn’t need anything else.

And Extreme Rides 2000 came at such an interesting time in the amusement park timeline. B&M had just exhausted its creativity throughout the 1990s with inverted and stand-up coasters, eventually culminating with the debut of Alpengeist and Riddler’s Revenge, respectively. So, they decided to branch out again and start innovating with floorless coasters (Medusa, featured) and hyper coasters (Raging Bull and Apollo’s Chariot). And as B&M and others began to go into the hyper-space, Magic Mountain and Cedar Point decided to test the limits of how high coasters can go with Goliath and Millennium Force, respectively. What we forget that’s mind-blowing is Goliath and Millennium Force both set coaster height records, and they opened within three months of each other.

Along with B&M’s forays, there were other coaster design companies that decided to really test how extreme coaster vehicles can get. Featured in the coming attractions portion of the video is the dawn of the flying coaster (which, we must remember, in the era of the Vekoma models, were originally called “lay-down coasters”), which is so new the preview is shown in CGI, and Stan Checketts’ bat-crazy what-the-hell-just-happened Thrust Air 2000, which in a few years would become Hypersonic XLC at Kings Dominion, and then a few years later, nothing. In this era, coasters were becoming bigger, faster, and stranger every year (those were the days).

This was when wooden coasters were suddenly making a comeback. After the Dinn Corporation made a few behemoths in the early-1990s (Texas Giant, Mean Streak, etc.), wooden coasters became smaller and more unique, thanks to Great Coasters (GCI) and Custom Coasters (CCI). When CCI designed The Raven for Holiday World in 1995, they sent a clear message that not only were wooden coasters on their way back, but they didn’t have to be 200 feet tall to pack a real punch. A real renaissance for wooden coasters ensued, and featured in this video is one of the weirdest of the bunch (and that’s an understatement): the ultra out-and-back that is Shivering Timbers at Michigan’s Adventure. At the time it was built, it opened a lot of eyes as to just how weird wooden coasters can get.

As I stated in my last article feature, the launched coaster really changed the game in the theme park world. No longer restricted by space constraints (the bigger the lift hill, the more land is needed), now coasters could go 70+ miles an hour without the need of a single lift hill. Space Mountain at Disneyland Paris begat Flight of Fear here in the U.S., which begat the incredible 100 mph/400 foot tall Superman: The Escape (hard to believe something like that was created as far back as 1996. Remember when they had to literally rewrite the coaster height record rules so Superman would be its own separate category, and not included in the “continuous” coaster records?). Superman begat Batman and Robin: The Chiller, which eventually begat Volcano: the world’s first inverted launched coaster. And its weirdness, in my opinion, has never been matched. With two distinct launches, and the second sending you upwards through a fiery volcano? That takes some creativity.

And finally, there are quite a few non-coaster features in this video. The first is the Katanga Skyscraper in Orlando, the extreme amusement flat ride from the makers of every bungee-jumping Sky Coaster and catapult-flinging monstrosity you see in amusement parks these days. Themed rides are featured here too. Journey to Atlantis from SeaWorld Orlando is here. It was inevitable that Splash Mountain’s infamous double-dip would lead to the firing of a hundred imaginations about what else a standard log flume track could do. The next logical step was to combine the log flume with a coaster track, giving the flume the ability to turn and even rise back up in the middle of a splashdown hill. And looking at the video, it’s admirable how SeaWorld was able to theme this ride while Disney’s popularity was booming. SeaWorld (back then) obviously was determined to try to bridge the gap between it and Disney in any way it could.

And speaking of bridging the gap, what ride encapsulated that concept better than Spider-Man? That’s right, Spider-Man’s here too. IOA had just opened the year before, and Discovery Channel wasn’t going to let that go without highlighting the most mind-blowing ride at the park. And also, think about how commendable that was. In a park with Dueling Dragons, Hulk, and Jurassic Park, on a show called Extreme Rides 2000 Discovery Channel thought best to showcase the hell out of Spider-Man. Damn good work, that. Jolly good show.

This time in amusement park history was very similar to what we saw with Hollywood movies also. Since Star Wars was released in 1977, and then once Terminator 2 and Jurassic Park introduced CGI to the masses, the race was on every year to make bigger, better, more expensive, and more sophisticated movies every summer. It was expected that each summer’s movies would be bigger than the last. That’s exactly what was going on with amusement parks. Can we honestly say there was more innovation in the amusement park space in any decade more than the 1990s? With the amount of coasters created, with the creativity of each, and the ingenuity?

Certainly the ride designers would tell you the 1990s were a golden age of amusement park designer creativity. Luckily, Extreme Rides 2000 has an all-star lineup of quality guest stars from all spokes of the park industry wheel. Starting with the usual Discovery Channel rolodex interviews with Steve Urbanowicz, Allen Ambrosini, and Paul Ruben, Extreme Rides 2000 also has quite a few white whales as guest stars: at 5:10 Walter Bolliger (of B&M…yeah, that Bolliger) discusses B&M’s thought process in transitioning from inverted to floorless coasters, at 10:10 and 11:12 Peter Kockelman of Gravity Works (of Sky Coaster fame) talks about creating the Katanga Skyscraper after their Ejection Seat model, at 17:32 Denise Dinn-Larrick (President of CCI) discusses the impetus behind Shivering Timbers, at 27:40 Sandor Kernacs (President of Intamin) explains how difficult it was to translate the LSM technology to inverted coasters, and at 31:42 Stan Checketts explains just how crazy he is. Oh, and don’t forget the Spider-Man behind-the-scenes walkthrough with Scott Trowbridge starting at 36:25.

So I dare you to watch this and not immediately run to your car and drive to your local park. In fact, I’ve been typing this whole article while driving at the same time. Okay, not really. Also, I’m pretty sure the seasonal parks aren’t open until Friday this week. But it’s still exciting, darn it. By the end of the show, we’re also promised the following future ideas:

1.       An S&S that goes 100 mph and rises up 350 feet (this was 4 years before Dragster)
2.       Log flumes that do loops
3.       Wooden coasters that go underwater

More, please. Now excuse me, I need to go to my car immediately. I love extreme rides!

--ParkScopeJeff (@ParkScopeJeff)

Thursday, September 28, 2017

Tuesday, September 26, 2017

YouTube Tuesday #12: Thrill Rides: Designing Fear

How extreme do you think roller coasters can get?

We’ve been grappling with that question since 1989. That was the year that Magnum XL-200 broke the hypercoaster 200-foot barrier. Up until then, when coasters got taller, they also gained more loops. That was pretty much a given for aspiring scream parks. Corkscrew changed the game when it debuted in 1975 at Knott’s Berry Farm by adding inversions to a roller coaster, something that hadn’t been seen since the circle-loops of the turn of the century. From 1975 to 1989, roller coasters getting “more extreme” meant they were taller or they had more inversions. Usually both.

Every other year, it seemed, some coaster somewhere in the country would either add another 10 feet to the height record, or just one more inversion than the previous record-holder. In fact, many of the new coaster designs took a back seat to the thrill of going higher, faster, and upside-down more often.

Different extreme designs like the stand-up coaster, the suspended coaster, the bobsled coaster, and the heartline (Ultra-Twister) coaster were fun, but they often did not make top headlines. The allure of the stand-up King Kobra at Kings Island was soon forgotten when the park added the record-setting Vortex. The suspended Iron Dragon quickly gave way to Magnum at Cedar Point.

Then 1989/1990 gave us the dual whammy of Magnum and Viper at Six Flags Magic Mountain. Viper opened as the second-tallest in the world (after Magnum), but pulled a ridiculous seven inversions out of its hat. At this point, it seemed that a pendulum began to swing the other way. Only once over the next decade would Magnum’s height record be topped: by the Desperado at Buffalo Bill’s casino (of all places, I know. It’s like Elton John performing live at the Katella Avenue Seven-Eleven). Though, it should be noted that Magnum’s drop height record would also be broken by Steel Phantom at Kennywood.
And Viper had nary a challenger over the next decade to its inversions record, being outpaced only by Dragon Kahn at Port Aventura in Spain.

Suddenly, starting in 1990, amusement parks seem to want something different, not just the same old “add ten feet for the height record and call it a day.” Throughout the 1990s, we certainly got our fair share of hypers and many, many inversion, but the 1990s was also when we started seeing a wooden coaster renaissance, and B&M’s stand-up, inverted, and even floorless designs. We started seeing flying coasters in 2000. And perhaps most important of all, we experienced the glory of Linear Induction Motors.

Launched coasters added an extra dimension to roller coasters. It was no longer even necessary to have a lift hill, yet still be among the most exciting coasters on the planet! One could be launched into giant inversions or straight up lift hills, with nary a chain in sight. And the launches could happen at any time!

When the launched coaster came to us in the form of Discovery Mountain/Space Mountain in 1995, and then to the states as Flight of Fear in 1996, it was dynamite for our imaginations. We knew roller coasters had pushed beyond their pre-defined limits, almost like they suddenly gained super-powers. You could launch tom 70 mph at any time! And this was something only 200-foot+ coasters were allowed to do!

This is where TLC’s Thrill Rides: Designing Fear picks up. It’s another in a long line of ubiquitous 2000-era roller coaster specials. But this is the only one, at least in my archive, that dives right into the consequences of roller coasters being too extreme. Yes, I have to admit, this show is very uncomfortable.

We’re releasing this show in deference to the 2017 Ohio State Fair Tragedy, when we all were reminded how dangerous amusement rides can be. These really are scary machines. One loose bolt or one failed brake can seriously injure passengers. It’s not a pleasant topic of discussion.

I do like that Designing Fear chooses to bring up a topic that nobody likes to talk about. In a way, it’s like an amusement park episode of 60 Minutes. However, Joe and I feel the presentation style of the show could have been handled better.

The topics of the show itself run the gamut, from how a coaster is designed, to the effects that g-forces have on the body, to the future of extreme rides. Even a biodynamics engineer is interviewed at multiple points to offer her take on the coaster’s effect on the spine and the brain. We talk to coaster fans, writers, designers, military engineers, and maintenance engineers. It jumps topics frequently, sometimes without any warning or buildup. But the worst is when the show randomly introduces tales of death and horror at the amusement park faster than a scare-actor at HHN. An interview with a coaster maintenance manager is followed by an upturned rapids vehicle incident. It doesn’t hang together. I think the big miscue in Designing Fear is that they were really making two shows: a show about thrills and g-forces and a show about maintenance and safety. One show plays on the excitement one gets for the amusement park, the other is a warning to be careful when playing at the park because disaster can happen at any time. The viewer gets emotionally frazzled when both are packed together.

But even with its flaws, in the wake of the Ohio State Fair tragedy, I believe this show is just as relevant as ever. Maintenance and safety continue to be main topics of concern today, even with ever-advancing technology. And as we continue to push the envelope in how extreme rides can be, we have to ask ourselves, what is the line we’re not willing to cross? How extreme does a ride have to be for us to hesitate and walk away? It’s an interesting topic of discussion, and I think one that speaks to our base desires and psychology. How extreme is too extreme for you? Answer the question honestly and you’ll find out a lot about yourself.

--ParkScopeJeff (@ParkScopeJeff)

Tuesday, September 19, 2017

YouTube Tuesday #11: Inside Disneyland Paris

Was Euro Disney the most significant Disney Parks historical development post-1971?

It very well could be. When looking at the history of Disney Attractions following the creation of the Vacation Kingdom, could one find any other momentous occasion that meant so much to the future of the theme park industry?

We all know the story of what happened. An original budget of $1 billion quickly ballooned into $4 billion. Disney had placed the resort right next to Paris, which is practically ground zero for Europe’s entire transportation network, and expected (or so some of their consultants said) to get as many as 30 million visitors by the time the second Disney MGM-Studios park would be built next door.

The exact reasons why the resort failed initially are far too complex for this piece. But the resulting fallout would be almost the equivalent of an asteroid impact within theme park circles.

Disney had always been the bellwether for the theme park industry since Disneyland opened in 1955. At its best, Disney has the financial and creative resources necessary to move the ball downfield in the themed entertainment industry. It’s no accident that the theme park industry seems to stagnate at the same time that Disney’s fortitude diminishes.

Look at the creative boom that happened within the parks industry during Disney’s golden years of the 1960s and 1970s (with the opening of Walt Disney World in Florida). To be fair, the Disneyland imitators of Freedomland and Pleasure Island and Magic Mountain (the one in Colorado, NOT the one in California) all went bust in the 1950s. But they all learned a very important lesson: don’t try to be Disneyland. Only Disney can be Disneyland.

After the failure of these initial parks came the big breakthrough: Angus Wynne’s Six Flags concept. Here was a pleasant family park concept (or at least it was back then) that did not provide themed areas per se, but did provide clean, well-kept, wholesome entertainment for the whole family. And at a fraction of the cost of a Disneyland presentation.

And so the race was on. Practically every major amusement park concept we know of today follows this model, and came to fruition in the 1960s and 1970s. The Six Flags concept. The Marriott parks in Illinois and California. The Kings parks. Carowinds. Busch Gardens. SeaWorld. Magic Mountain (the California one). Astroworld. Marineland. Worlds of Fun. And the old parks all learned these lessons and made themselves better. Cedar Point. Knotts. Kennywood. Hershey. Holiday World. And all of this booming success was predicated on Disney’s popularity and innovation. It’s true.

Let’s even put aside the fact that Six Flags and their ilk were built trying to catch the Disney conceptual wave that amusement parks could be fun, clean, friendly places again. In the 1950s, Walt had a small company called Arrow Dynamics manufacture and build the ride mechanisms for his attractions, from the Fantasyland dark rides to the Mad Tea Party and many others. Arrow had become quite adept at manufacturing these (very new) mechanical ride concepts, to the point where they were the ones Walt called on when he wanted to create a new kind of roller coaster to dive in and around his new Matterhorn mountain. And so, Arrow created the first tubular steel roller coaster.

As many of you know, the steel roller coaster is now the rock that amusement parks build their churches on. One would be hard-pressed to find an amusement park of any stripe without one today. And after Arrow success with the Matterhorn (and later Space Mountain), they proliferated the steel coaster concept across the amusement park landscape. First it was the form of the family-friendly mine train coaster concept, which the Six Flags of the world were happy to utilize in their family park concept. But later, Arrow would revolutionize the industry again by creating the Corkscrew for Knotts Berry Farm, the first steel coaster with inversions, in 1975 (the same year as Space Mountain opened). Amusement parks again rode the dual waves of the steel coaster boom and the popularity of the new Walt Disney World Resort.

A similar boom happened in the late 1980s and early 1990s. While one could certainly argue that the soon to be booming economy would have much to do with the “coaster wars” and innovation wheelhouse that would commence, it’s also of note that this came at a time when Disney began a second golden age of innovation for its theme parks. As Disney began to build bigger and better parks and attractions, other parks felt emboldened to loosen the purse strings as well.

Look at all of the 3-D movies that spread into the theme park world after the success of Magic Journeys and Captain EO. Or the umpteen billion simulators after Star Tours. Universal Studios and MGM Grand opened new studio-themed parks after Disney opened theirs. The world of water parks was changed forever with the opening of Typhoon Lagoon, as was the world of themed hotels after the Swan & Dolphin and Grand Floridian made their debuts (it should be noted, 3 years and 1 year, respectively, before The Mirage opened in Las Vegas and began that revival). The expansions of Disneyland and Walt Disney World led to new expansions at Club Med, Las Vegas, Branson Missouri, and Universal Orlando.

Then Euro Disney happened. And everything began to…slowly…stagnate again. Budgets began to be cut, little by little, every subsequent year for Disney, until by 2001/2002 they would hit the literal bottom-basement of Disney’s California Adventure, Dino-Rama, and Disney Studios Paris. And it seemed that, every year, other parks also began to give up. It was like a themed entertainment ice age. After a $1 billion-plus expansion at Universal Orlando (which should be pointed out was approved in 1993), the jolly merry-go-round of Universal ownership decided to hang it up for about a decade. Las Vegas slowly demolished its themed rides. All the amusement parks seemed to ditch the simulators and dark rides and went right back to steel coasters (though some very creative ones). Amusement park owners seemed more interested on installing Fastpass systems and meal deals.

There’s a controversial new theory (work with me here) in archeology that suggests that a 1,200 year “instant ice age” in humanity’s past was caused by a comet impact. Our climate history shows that, after thousands of years of gradual warming, the earth was plunged very suddenly back into the teeth of the ice age approximately 12,800 years ago. This began a period of intense cold called the Younger Dryas that lasted for 1,200 years. This weather event literally happened out of nowhere. New evidence suggests that a piece of an enormous comet (or even several pieces) smashed into the earth and kicked up so much dust and loess that the sun was blocked for years and caused a reverse greenhouse effect, basically plunging humanity back into the ice age after it had almost escaped. This comet is sometimes called the “Clovis Comet” because it seems to have been the cause of the extinction of the proto-Native American people called the Clovis culture.

Hot take: Euro Disney is the Clovis Comet of the current ice age in the theme park industry.

And it always seemed like it. Even in this featured show, Inside Disneyland Paris, there seems to be an air of awakening from a very long winter. Because realistically, Disneyland Paris was in a deep, biting winter for years and years.

One thing that always fascinated me about Inside Disneyland Paris was that it was the first Disney-specific special to ever air on a Discovery Channel, TLC, or Travel Channel-style show. This always made me wonder. Though Disney attractions would be featured in specials like Funhouse, only through Buena Vista video and the Disney Channel could one find Disney-specific documentaries, such as with the Walt Disney World: Inside Out specials. Amusement parks like Cedar Point and Magic Mountain were featured multiple times. Universal was featured all the damn time (to our great consternation). But Disney never entered the fray. Until this show.

We were all giddy about this show, because it was the first Disney effort on the Travel Channel. We awaited with great anticipation. And it makes total sense now, looking back, that Disneyland Paris would be featured first. We can expect that Disney didn’t allow Travel Channel to make these kinds of documentaries for a variety of reasons, be it the hesitation of letting a third party into Disney’s backstage areas or the idea that Disney “doesn’t need” someone else’s help to advertise its own products. But Disneyland Paris needed all the help it could get.

And so we see Disney’s freshman effort at letting the Travel Channel world into the backstage magic. And the final product is good, but not spectacular. We see a lot of what we expect from park specials: the peak inside the food warehouse, the construction of HISTA, the landscaping, etc. Some better highlights include the challenge of swiveling Indy’s mine cars backward, the behind the scenes at parade rehearsals, and the insiders look at the Space Mountain launch area. Lowlights include every shot of Jay Rasulo.

My personal favorite highlights are the extensive interviews with Tom K. Morris about the conception of Fantasyland and the magnificent Sleeping Beauty Castle, as well as the sequence at the end that reveals the behind the scenes of the Cheyenne’s wild west dinner show (complete with real buffalo!)

So enjoy Disney’s first Travel Channel effort. We promise there will be many, many more to come ;)