EPCOT: What Doesn't

How could Disney get something so spectacularly wrong, so consistently?

Put simply: Innoventions is awful. Making the problem even more fascinating: It shouldn't be.

As Disney demonstrated in its Theme Parks & Resorts pavilion at the D23 Expo earlier this year, it has world-class designers who can create exhibitions that showcase imagination and creativity and fantastic design sensibility. The D23 Expo Theme Parks & Resorts pavilion was a shining example of how to engage and fascinate large groups, how to move them through, and how to lay out exhibits in a way that made sense and was tremendously appealing.

And as family-oriented science centers across the country demonstrate every day, learning can be fun and engaging, and education can be packaged in a way that appeals to guests who are 5 and guests who are 50. Just because an exhibit is designed "for kids" does not mean it has to be boring for adults or childlike in its execution.

So, why does Innoventions get it so wrong?

The original incarnation of Innoventions, CommuniCore, was a whole lot better, combining better design, better exhibits and more forward-thinking technology (for its day) than Innoventions does. It took the themes of EPCOT Center and created "spin-off" exhibits that actually did offer more insight and exploration into those subjects. As an experience, it supplemented a visit to EPCOT Center -- and, not coincidentally, provided a lengthy, welcome respite from Florida heat (or rain, depending on the time of year).

From a design standpoint, CommuniCore was divided into four quadrants that helped make navigating it easier. Everything in CommuniCore was designed to reflect EPCOT's theme of a future world in which we all connected to each other and in which communications technologies would allow us to learn more about the world around us, and to participate in it more fully. A Utopian ideal? Absolutely, but then EPCOT didn't pretend to posit that we could (or wanted to) achieve anything less -- and was blissfully unaware or unconcerned with charges of totalitarianism or socialism. Politics wasn't the agenda ... offering a vision of an idealized future was.

Of course, CommuniCore had a decidedly commercial bent. Everything was "sponsored by" or "presented by" a sponsor company, often the same ones who sponsored Future World pavilions. It was also a place where guests could explore not-ready-for-prime-time technologies like PCs, personal videogames, fiber-optic-driven communication, video conferencing and instant polling.

Twelve years after opening, CommuniCore gave way to Innoventions -- which may have outlived its predecessor by three years (and counting), but is one of Disney's worst concepts ... poorly designed and executed, to boot.

Like a goofy PBS kids' science show no one wants to watch, Innoventions takes a hodgepodge of ideas -- ranging from personal financial saving to trash management -- and mixes them all together in a zany mish-mash of styles, designs and themes. Although there is allegedly a master plan and design, Innoventions feels thrown together, despite repeated attempts to redesign and rebuild it.

There's precious little learning or discovery going on. Yes, you can drop a hammer onto a TV screen, and allegedly learn how safe your TV is thanks to Underwriters Laborator. Sure, you can ride a Segway for about two minutes (if you can handle the lines). You can see a very dull "House of Innoventions" ... if you can figure out where to enter. But learning? Actual science? Real discovery and enlightenment?

Compare Innoventions to the truly extraordinary California Academy of the Sciences in San Francisco, which, granted, is about four times the size of Innoventions ... but also encompasses a planetarium, a tropical rain forest and a full aquarium.

On the other hand, COSI in Columbus, Ohio, was for many years about the same size as Innoventions* ... and is world-famous for its blend of science, entertainment and interactivity.

Around the country, and around the world, there are science centers that beat Innoventions hands down. The truly discouraging thing is that CommuniCore beat Innoventions hands down.

In its current incarnation, Innoventions may occupy the physical center of EPCOT's Future World ... but it is far from being its heart.

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* Thanks to an anonymous EPCOT Central reader for pointing out that an earlier description of COSI's size was incorrect.

EPCOT: What Works

Take equal parts Pirates of the Caribbean and Peter Pan's Flight, mix with EPCOT Center's original mission, stir gently, and bake at Walt Disney Imagineering for a few years ... and you've got what EPCOT Central considers to be a hidden gem of EPCOT: Maelstrom in the Norway pavilion.

When Restaurant Akershus was still operating in its original, princess-less incarnation, and the Norwegian government was still contributing to the operating costs, the Norway pavilion represented the very best of EPCOT. It had charm to spare, it was a convincingly authentic reproduction of its sponsor nation, it offered good shopping, had a terrific (and under-patronized) restaurant, presented cultural artifacts, provided tourism information that introduced guests to a relatively sparsely traveled country, and was anchored by an attraction that -- to top it all off -- even incorporated a travelogue-style film.

In short, it had everything you could hope for in a World Showcase pavilion.

Today, the Norway pavilion is missing some of those critical components. No longer partially funded by the Norwegian tourist board, there's no longer any hint of a tourism kiosk; you'd be hard-pressed to find any information about travel to Norway, actually. Restaurant Akershus, of course, is now a princess dining location that offers Disney princesses from Germany, France, the Middle East and other countries, but not from Norway. The little travelogue film is horrendously dated (though a few judicious cuts would actually make it more or less timeless).

But there's still Maelstrom. And despite its detractors, who claim it's too short and not thrilling enough, it's a ride that really works.

Yes, it's only about four minutes long -- but even there, that's longer than most Fantasyland dark rides at The Magic Kingdom. Maelstrom wasn't intended to be a destination, E-ticket-style attraction; it was designed to be a nice C- or D-ticket ride that complemented everything else the pavilion had to offer.

Heading into a fortress-style building, the initial queue area is without doubt charmless -- it's wholly functional, not particularly attractive, but it leads to a gorgeous, eye-catching, beautifully detailed mural depicting the history of Norway, from its earliest hunter-and-gatherer residents to the massive cruise lines and oil rigs of today. There might not be much to do in the Maelstrom queue, but it's never long and there's enough here to keep a guest occupied through repeated visits for the few minutes of waiting.

Maelstrom is dark and atmospheric. It promises the "spirit of Norway" and it delivers -- there's a bit of history mixed in with a bit of mythology. Guest who don't care a whit about the history or beauty of Norway will enjoy seeing vikings, polar bears and trolls. Those who have some interest in this ancient land can listen closely to the narration and dialogue (which could use some serious audio tweaking) and find enough to spur a desire to learn even more.

What Maelstrom does well -- terrifically well -- is take us away to another place, even for a few minutes. No, its "waterfall" isn't particularly thrilling, and it feels a little creaky 20-plus years after opening, but for those few minutes we're surrounded by Vikings, the Northern Lights, the crashing North Sea ... and we even get to speed backwards.

Today's EPCOT insists on big, big thrills. Maelstrom is a little thrill, a heart-lifter, a trip down memory lane to a time when the goal of Disney theme parks was to offer truly immersive experiences that could be shared by every member of the family.

When the brief ride is finished, it drops guests in a typical Norwegian seaside village -- one that will look remarkably, undeniably authentic to anyone who's walked the harbor streets of Bergen and seen the quaint, crooken buildings of its Bryggen area. Like the Mexico pavilion, it's eternally dusk here, and this little holding area is evocative and filled with detail.

It's always a shame to see 90 percent of guests head through the doors that open onto a theater and zip right out the other side. They miss a five-minute film experience (do they really not have five minutes?) that is rightfully maligned for a few shots that might even have looked dated in 1988, but otherwise captures the awesome majesty, simple charms and ancient legends of Norway. To EPCOT Central, the "Spirit of Norway" film is a must-see on every trip, a presentation that expands on the momentary charms of the ride that came before it to introduce us to a country that feels familiar -- but is actually astonishingly diverse and unexpected.

Of course, it doesn't help that most Norway cast members actually urge people not to see the film. "If you choose not to watch this presentation, you may exit the doors ahead of you," is more or less the announcement, and those who stay are in for a treat.

Together, Maelstrom and "The Spirit of Norway" still represent the World Showcase concept at its best, taking us out of the Florida heat and into a romantic, unexpected land. Despite the lamentable changes to the Norway pavilion, this pair is still classic EPCOT, through and through.

Not for Children Only ... and That's OK

"When I was 6, EPCOT was so boring to me. I'm glad they changed it."

"I may not care for Nemo, but my 5-year-old loves it."

"When my teenagers go to EPCOT, they're bored silly and want to leave."

"EPCOT needs more rides for kids."

These are some of the comments (some real, some paraphrased) that EPCOT Central readers have offered recently, and it's an interesting observation -- because it assumes that Walt Disney World as a whole and EPCOT specifically need to appeal to kids.

"I thought," Walt Disney said back in the 1950s, "there ought to be a place where parents and kids can have fun together." The result was Disneyland, a place with a carousel and a (now-defunct) tobacconist, a place with a treehouse and a (now-defunct) silent-film cinema.

Walt Disney, thankfully, didn't think, "There ought to be a much cleaner, better-run amusement park where my kids can have fun." He knew the joy of an amusement park ride so cleverly conceived that guests of every age enjoyed it.

Disney has long marketed Disneyland and The Magic Kingdom to kids. There's little arguing with the success of that -- though an effective debate could be made that Disneyland was just as popular when its marketing was aimed at both kids and adults.

But EPCOT Center, from its inception, has always been a different story. EPCOT was a decidedly, almost unashamedly, adult park, and that concept certainly made as much sense in 1982 as it does today: A day or two at the Magic Kingdom to entertain and bring joy to the little ones could be followed by a day or two at EPCOT, where the discoveries and pleasures were directed at older guests. After all, not everyone who visits Walt Disney World is an 8-year-old kid ... and many, many guests don't even bring kids -- a fact that Disney, over and over, seems to ignore.

But being "grown up," Disney-style, somehow quickly got equated with being "boring." Imagine a family of four visiting Paris or Rome or San Francisco or New York and saying, "Well, there wasn't much for the kids to do." Imagine spending a day at the Louvre or the National Gallery and saying, "I loved it, but we left early because my little boy was just so bored."

EPCOT isn't for children only, and that's not a bad thing. It's designed to spur the imagination and a sense of discovery. To some people, unfortunately, that means it's boring -- just as some people could walk among the pyramids of Egypt, perhaps, and find nothing to interest them. Not everyone needs to love EPCOT, and not everyone does. That's OK, because there are three other theme parks, two water parks and a whole host of activities at Walt Disney World to occupy a day that might be spent at EPCOT.

Disney, though, doesn't seem to see it that way. Like most entertainment companies, it's obsessed with numbers: If EPCOT's attendance falls, if its exit polling data isn't as high as every other park, if EPCOT is perceived as "less popular" than the other parks, then it must be a failure. We've seen that mindset in play at Disney's California Adventure -- which, it shouldn't be forgotten, got rave reviews from most mainstream media when it opened, and wasn't quite as much a creative failure as revisionist history holds it to be, but is now the subject of a billion-dollar makeover that emphasizes kid-oriented fun, not California-themed discovery.

In this new "kids at all costs" Disney era, it would indeed be interesting to see what might have become of the never-built Disney's America, which probably would have been considered a catastrophic creative disaster, rather than an interesting, offbeat foundation on which to build.

Which gets us back to EPCOT, a park that was built not to entertain the younger set, but to inspire all ages. EPCOT's deck has long been stacked against it -- it is virtually impossible to take a subject like "the history and development of energy technologies" and make it understandable, palatable for guests of every imaginable age, education level and language. But the Imagineers saw that as a challenge, not necessarily a problem, and tried their best to create something that would work for everyone. Some results were better than others. But they were always fascinating.

The same, unfortunately, can't be said for the once-is-enough Seas With Nemo and Friends, or the surface-only thrills of Mission: Space or Test Track. They're cute and fun rides, there's no doubt, but they are designed to appeal primarily to younger visitors, and to amuse, not inspire.

A revised, revisited, renewed EPCOT -- should such a thing ever become a priority for Disney -- can take its inspiration from the original concept of a park that would engage every age. No, it wouldn't be as universally well-received as a park dedicated to Disney characters, or a park about the movies (if it really is that anymore) or about animals. It would be almost a "niche" park.

EPCOT would appeal to a particular sensibility. Not everyone would love it ... but those who did would adore it. They'd visit it again and again, and like a museum or a science center or a grand city filled with opportunities for discovery, it wouldn't be just for children. And that would be OK. Because EPCOT would appeal to the curious child in all of us -- and open a child's mind to the opportunities of adulthood.

EPCOT: What Doesn't

Longtime readers know that there's a difference of opinion among some EPCOT Central followers -- while some believe the views expressed here are constructive thoughts reflecting on how EPCOT could be even better than it is, others take the perspective that EPCOT Central complains too much and wishes EPCOT had never evolved. You can guess which camp I fall into. But with a nod to those on the other side, they'll have plenty to carp about with this one -- because it's EPCOT Central's view that the attraction that is most ineffective is also the one that recently got the biggest makeover:

The Seas With Nemo and Friends.

Even before experiencing the "new" Seas pavilion, this makeover seemed wrong-headed ... and now, having been through the attraction several times since its reincarnation, EPCOT Central believes it to be one of the absolute worst things that's ever happened to EPCOT.

The key lies in that word "attraction," because when they re-thought the Seas pavilion, EPCOT Imagineers took a multi-layered, though unfortunately never fully evolved, experience and turned it into ... a ride.

They went so far as to change the name of the pavilion from the evocative and far-reaching "The Living Seas" to "The Seas With Nemo and Friends," emphasizing that there's a ride, and there's a show with Crush, and the rest ... well, the rest doesn't much matter.

Contrast that with the classic, stirring, thought-provoking pre-show film that used to dramatically introduce guests to The Living Seas, and the problem is apparent.

The wonders that fill the depths of three-fourths of our planet aren't of any concern anymore; the only thing that matters it that 6-year-old kids get to shout out, "There's Dory!" The world around us is meaningless compared with a Pixar character.

The biggest shame is that there's so much to explore. As the pre-show used to remind us, we've spent less time at the bottom of the sea than we have on the surface of the moon. Getting five miles down is infinitely more complex than going 238,000 miles up. There are mysteries we can barely fathom, and one word from that pre-show film evokes more memories of how much more stirring EPCOT Center was than Epcot: "chemosynthesis." Huh? What? What does that mean? How do living creatures do that? And were the oceans really formed by "the deluge"? (Most scientists agree: Yes. How extraordinary!)

After hearing an absolutely stunning narrator encourage us to open our minds to the possibility of life under the surface of the water, we had a chance to "descend" below the waves ourselves in a "hydrolator," then ride through the incredible sights of undersea life, before using our own sense of discovery to learn from real, live people about the animals, plants and creatures that share our world.

There can be absolutely no doubt: The seacab "ride" was a failure from the start. It didn't go much of anywhere, held no excitement other than seeing a man-made coral reef. And because there was no context to what we were seeing (no signs, no narration, telling us about the engineering, creative or technological achievement of what we were looking at), there was little to engage guests. And holding that disappointing sense of, "Is that all this is?" they were dumped into a massive museum-like display area that many guests had trouble navigating.

Obviously, there were problems with The Living Seas -- no matter how compelling, exciting and wonderful many (but not enough) guests thought it may have been.

But the cure proved to be worse than the disease.

Today's audiences ride silly, clam-shaped vehicles past a series of screens onto which cartoons are projected. There's as much science and connection to the wonders of the oceans as Space Mountain has to the history and science of actual space travel. (Space Mountain actually offers some pictures of real nebulae in the queue area.) Disney has literally stripped the pavilion of any attempt to inspire, educate or inform -- and now more than ever, guests simply breeze past the old "Seabase Alpha" and either leave altogether or head to Turtle Talk to see more digital animation that distracts from the reality of ocean life. Yes, there are still some displays in the old Seabase Alpha, but fewer than before, with fewer cast members to answer questions and less depth to the overall experience.

Basically, it's just a cartoon, one that would be more at home in the Magic Kingdom's Fantasyland than EPCOT.

Frankly, it's not a particularly well-done ride, either. Instead of Disney's classic Audio-Animatronic figures, guests see projections of cartoons. During a couple of portions, to add insult to injury, cartoons are projected onto the glass tank to make it appear the cute, computerized fish are "in" the water. Once again, the message is clear: Don't wonder about the amazing things in the world around you, just enjoy the cute Disney characters.

The change from The Living Seas to The Seas With Nemo and Friends has been disastrous.

And it speaks volumes about the frustrating, troubling message that Disney increasingly sends to youngsters: If some element of your life can't be commercialized and branded with the "Disney" name, it doesn't matter.

The Living Seas was a disappointment. The Seas With Nemo and Friends is a failure, pure and simple.

EPCOT: What Works

EPCOT "works" splendidly.

Except, that is, when it doesn't.

So, from time to time, EPCOT Central will explore aspects of EPCOT that fulfill the vision of this grandest of all theme parks ... as well as those that, well, don't.

And why not start with some controversy?

Many readers abhor the revised descent/ending to Spaceship Earth, but EPCOT Central thinks it works. Here's why:

From its very start, EPCOT Center was focused on how you, the guest, would live and interact with your future world. In EPCOT's earliest incarnation, much of that exploration was done with gravity and seriousness -- a little too much. Indeed, World of Motion is fondly recalled not so much because it was actually good (it wasn't, really; though it was at least an elaborate example of the kind of Animatronic-filled ride-through that no one but Disney could do then ... or has ever been able to do). Rather, World of Motion was singled out because it at least attempted to be humorous.

There weren't many examples of that in EPCOT Center. Cute little Figment over in Journey Into Imagination was certainly fun. World of Motion was played (mostly) for laughs. And Cranium Command -- well, it was in a class by itself. But humor, for the most part, was overshadowed by education.

At the same time, Spaceship Earth, quite (OK, almost) literally the centerpiece attraction in EPCOT, was a terrific experience all the way to the top ... and then a drag on the way down. From the get-go, Imagineers sent a not-so-subtle message to riders of those backwards-swiveling "time machines": The show's over, nothing left to see.

In the mid-1990s, an attempt was made to make the descent more interesting. One idea, if it had actually played out (something that would be easy to do today but wasn't too easy in 1994), was to show today's world news from around the world. That was, at least, the idea behind the scenes of newscasters projected on a screen at the beginning of the descent. But it wasn't possible, in the pre-Internet, narrow-band days, to actually stream live news, so the concept was never realized.

Static figurines of kids and adults in an "interconnected" world never sparked the imagination, and were, frankly, boring. A lovely cityscape was built with a terrific fiber-optics depiction of "flowing information," but more often than not, it was dark and dull.

The descent never worked, was never engaging.

Now, it's a fun combination of technology and interactivity. It's understandable if your heart sinks a bit the first time you see a monitor in a Spaceship Earth time machine -- is this going to be another example of on-screen distraction that tries to hide the flaws of the ride itself? But after asking a few questions, the screen goes dark and doesn't bother riders until the descent begins.

At that point, the ride becomes a highly individualized, clever and cute diversion. Mashing your face together with a retro cartoon vision of the future, Spaceship Earth now follows its information-rich, education-focused "main show" with some fun, relaxing smiles. I've yet to encounter anyone -- even if they objected to the comedic tone -- who didn't crack a grin. And that's saying something.

It's particularly noteworthy in today's "Disney Parks" environment, because the grin comes without a single Disney character. It's the Disney touch that makes this work. It's a fine bit of Disney nonsense, in keeping with the manic tradition of later Donald Duck cartoons, Alice In Wonderland and Disney's stylized 1950s Cinemascope efforts.

The downside is a lost opportunity -- these peeks at the "future" could have been based on real science, rather than a goofy, retro vision of bubble-shaped saucer cars and robotic homes. That future is likely never to be a reality, and while it's cute to see this kitschy '50s notion of "The Future." There's no science here, only silliness. That's indeed too bad.

But it would be worse, really, to stare at dusty old statues prophesying a future in which we all connect by -- wow! -- live videoconferencing. That concept of "the future of communications" pre-dated Facebook and MySpace and YouTube, which have changed the lives of everyone on the planet, even people who don't use them.

Besides, this version (at least theoretically) is easily changeable, and it's undeniable fun to spend a few moments in the dark answering the on-screen questions about taste and preference. There's music, there's dramatic lighting, and there's a magician's flair for distraction -- you don't notice, and you don't care, that nothing is happening around you. Watching the resulting cartoon with your face is great fun. And, what's this? For once, Disney doesn't try to sell you a picture of yourself!

Spaceship Earth as a whole works wonderfully now, a lovely balance of seriousness and humor, of education and mirth. The theme is still problematic -- it's no longer technically about communication, and despite its claims it isn't really about innovation. Actually, it is about human communication and all it has meant to our planet, but since the final cartoon doesn't uphold that theme, Disney opted instead for a confusion thematic claim countered by a different thematic execution.

Nonetheless, the new Spaceship Earth descent works, and sets the tone wonderfully for EPCOT as a whole. It's about you and your role in shaping the future. It's a blend of fun and fact. It's a modern spin on a timeless tale of human endeavor.

Now, if the rest of Future World would just get with the program ...

Meanwhile, Down the Road

A hundred miles southwest of EPCOT, it's happening.

Even as Disney continues portraying an outdated "vision" of our world's energy needs, even as it virtually ignores the realities of the past 15 years, a sleepy little Florida hamlet called Arcadia (ironic, no?) is home to the country's largest solar-panel power plant.

It's puzzling indeed to see how Disney has lost the ability to put forth any vision of the future that does not revolve around movies, DVD or 'tweenie-bopper celebrities. It's strange, really, to conceive of EPCOT's Spaceship Earth and Future World gleaming in the Florida sun, standing as testament to the efforts -- even the unsuccessful ones -- of Walt Disney and some of the men and women who followed in his footsteps to offer up a visionary experience.

No, EPCOT was never entirely successful at taking difficult, esoteric concepts and reducing them to levels that could be comprehended by tens of millions of people a year. That's an extraordinarily ambitious task, one most museums can't quiet make work, either. But it tried.

Back in 1995 or so, about halfway through EPCOT's life (so far), Disney gave up trying. EPCOT, like The Walt Disney Company as a whole (and, it could be argued, society in general) recognized that it was far easier to succeed at creating shiny, pretty, easily digestible entertainment than to educate, inform and enlighten.

It's just a shame, though, that we have entered that future that EPCOT and Walt Disney once envisioned, but to a large degree we're doing it without a guide, without someone truly "at the helm" who can guide everyday folks through the confusion and explain what it all means. Walt Disney did that for one generation, and EPCOT tried to do it for the next. Now, there's literally a bright and gleaming future being built ... and no one, really, to tell us how exciting it is.

Sorry, but Ellen Degeneres and Bill Nye the Science Guy from 15 years ago don't count.

Presented By ... No One?

• It was a surprise to walk up to The Land pavilion at EPCOT recently and discover that Nestle was no longer the presenting sponsor.
• The Seas With Nemo and Friends has a beautiful VIP lounge (complete with circular logos for "The Living Seas") that mostly sits empty.
• GM has emerged from bankruptcy, leaving EPCOT lovers to wonder how, if at all, the struggling company can justify or afford continuing Test Track sponsorship.
• The Universe of Energy has no sponsor, while Wonders of Life is empty lacking corporate backing.
• The Norwegian government no longer sponsors the Norway pavilion, which has led to little authenticity (unless you believe princesses based on Middle Eastern, German and French stories belong in Norway).

What's going on at EPCOT?

Was it really that long ago that both American Express and Coca-Cola were sponsors of The American Adventure?

EPCOT, or more precisely EPCOT Center, was conceived as a way for both major corporations and individual countries to showcase their new ideas and products, as well as their cultures and tourism potential, to tens of millions of guests every year. On a sociological level, there's little doubt that the Eighties and Nineties left us scarred and less trusting of corporate behemoths. And yet, they didn't go away. The economy is just as ruled by corporate culture as it ever was, we're just a little more loathe to admit it. Scandals, bankruptcies, failures and broken promises left us doubting the collective wisdom of corporations to guide us into the future.

And yet, pessimism has rarely been welcome at Disney. Walt Disney believed that the research-and-development work being done by American corporations was some of the best, most valuable in the world. Now, those corporations are multi-nationals, and America may not be the shining beacon of optimistic progress that it once was. Still ... it's hard to deny that Coca-Cola, Apple, Toyota, Starbucks, Google, Nike, Kellogg's, Colgate, Nestle, Kraft, Ikea, UPS, Citibank, FedEx ... that these brands aren't so powerful that they don't move and shape the world. They do.

It's just that in 20 years, Disney has become one of those powerhouse brands. It has as much power, if not more, as others ... and the last thing you want to do when you've got money is give it to someone else who has money. That's what seems to be happening here. Disney used to have a major "Corporate Alliances" group whose primary job was to develop and work these big-brand relationships. What happened?

How come an EPCOT cast member told me recently, "No one wants to sponsor these pavilions, and without sponsors, it's hard to operate them?"

That comment is problematic on at least two levels:

1) Why don't major corporations want to be sponsors of EPCOT attractions anymore?

Is Disney underselling EPCOT? Or is it overpricing its sponsorship package? To continue achieving its vision -- even in a watered-down form -- EPCOT needs to be a showcase of ingenuity and progress. And to do that, its managers need to be able to articulate that vision. EPCOT affords an opportunity for immersive brand exposure unlike anyplace else in the world. So, why is it that companies don't want to buy in?

2) If corporations aren't going to come to the table, why can't Disney go it alone?

The visionary ability of Walt Disney Imagineering is unparalleled, and Disney could present its own unique vision of the future at EPCOT without the need for sponsorships. Does the $10 million or so a sponsor gives really add to the experience? Or is Disney artistically incapable of creating a traditional EPCOT pavilion run without a sponsor?

Does Disney actually need sponsors to effectively run EPCOT and its other theme parks? Or is Disney overpricing and under-servicing potential sponsors in an effort to ensure that EPCOT, like other Disney parks, simply becomes a showcase for Disney movies, Disney cartoons and Disney merchandise?

Of course, sponsorships do still exist at EPCOT, most notably GM and Siemens. But they seem lately to be the exception rather than the rule, which waters down the experience of EPCOT and its positioning as a place to view and experience the developments that will fuel our future. More and more, it's just an odd, disjointed theme park now.

Given that Tokyo Disney and the Universal parks seem consistently "full-up" on the sponsorship level, you have to wonder if the stateside Disney motive isn't just to get rid of the sponsors altogether so that the only sponsor that matters is the Mouse himself.

Dear Steve Jobs,

I understand from reading a front-page story in yesterday's New York Times that you're encouraging Disney Consumer Products to "dream bigger" and that you're helping guide a massive overhaul of the Disney Stores.

That's highly commendable. No sarcasm here. It's about time someone tell the Consumer Products division of Disney that its "vision" of the Disney Stores as being "the best 30 minutes of a child's day" is, frankly, not impressive. It's been a long while since Disney Consumer Products was impressive, and now that Dick Cook at the Walt Disney Studios and Ed Grier at Disneyland have been shown the door, it will be interesting to see how long DCP's Andy Mooney lasts, since that division has been languishing for quite a number of years.

But this is a blog about EPCOT, not about Disney Consumer Products, so you must be wondering what the two have to do with each other? Well, a lot.

Because while you're encouraging big thinking and grand ambition for the Disney Stores, the biggest, grandest, most ambitious theme park of any sort, Disney or otherwise, is pretty much languishing.

Many of the people who work for you at Apple and Pixar were -- you might be surprised to hear this -- inspired by EPCOT Center. They were exactly the right age to have their imaginations sparked back in the late 1970s and early 1980s when Disney set a simple-yet-lofty goal: Make sure every man, woman and child in the U.S. had heard of EPCOT. In the pre-Internet, "old media" days, that was not an easy thing to do, and even if people didn't quite know what it was, by the time October 1, 1982, rolled around, they knew that it was.

In its first decade of operation, EPCOT introduced literally hundreds of millions of people to impossibly futuristic technologies like touch-screen computers, video conferencing, fiber optics and hydroponics. It was the first glimpse many people had of a world of the future, one that we knew was likely impossible but, hey, we could dream, couldn't we? And over across the lagoon, there was no "West Germany" and "East Germany," Japan and China weren't filled with people who "all looked the same," and Italy wasn't a formerly fascist country that many people still feared a bit. Nope, World Showcase depicted a planet in which our differences were celebrated, where we worked together to build that idealistic future on Spaceship Earth -- which was almost always visible, no matter where in EPCOT you were, reminding us that we were all in this together.

And through it all, there were hardly any Disney characters to be seen. EPCOT wasn't a place where Disney marketed and merchandised itself, but where a "new Disney era" was coming to life. Perhaps it wasn't as amazing as Walt would have made it, but it was an honorable attempt. More than that, it did exactly, Mr. Jobs, what you are urging Disney executives to do today -- it dreamed bigger.

It's fantastic and wonderful and terrific and very, very cool that you've taken an interest in the Disney Stores, which have been the victim of small thinking and are still trying to recover from having been literally cut away from the rest of the company for several years.

But even as you go about encouraging this laudable renaissance for Disney's retail stores, I'd like to propose that you encourage the same sort of spirit of innovation, creativity and imagination for EPCOT.

As I mentioned earlier, it would be impossible to deny the huge influence EPCOT had on many of the people who have been instrumental in creating the real-world renaissance of the past decade and a half. It's become fashionable and fun to bash EPCOT as "boring," but that simple view undermines the inspiration it brought to people who didn't find it that way, who conversely found it enormously exciting and endlessly inspiring.

At the Apple Store, you've built a retail environment that is all about hands-on interaction, about educating your guests, about letting them see and experience a future that's not just possible ... but possible for them to take home. You've created a retail location that everyone in the retail business said was impossible: One that encourages people to visit, to experience, to think, to imagine, to learn ... not just to buy. The Apple Store shows its guests how their lives can change thanks to technology.

Basically, you've created 273 mini-EPCOTs, albeit with a theme of computers and home technology, but, still ... the idea is the same. Now, take that amazing innovation and creative spirit and apply it to the actual EPCOT concept, and the mind boggles.

If Apple's creative and technological geniuses were to blend with Imagineering, if they were given the canvas of EPCOT and told, "dream bigger" ... well, perhaps you can see how easy it is to get excited about the possibilities.

EPCOT is Disney's diamond in the rough, its pre-existing opportunity to grow its brand in an entirely new direction, to capture the hearts and minds of young people in ways that don't have solely to do with dressing like pirates and princesses or meeting Ariel and Mickey. EPCOT can be so much more than what it has become.

So, Mr. Jobs, it's really great that you've taken such an interest in Disney's mall-based retail locations. There's almost no way that Disney can't benefit from your inspiration and encouragement. Now, there's just one favor to ask of you for your next project: Take a look at EPCOT and ...

Dream bigger.

Which Is It?

For those who haven't yet read the latest EPCOT Central blogpost, I'll keep this short so space at the top of the page isn't tied up. But earlier today, Disney announced that George Kalogridis has been named president of the Disneyland Resort in Anaheim. Take a look at the press release. So, is EPCOT indeed an acronym all in upper-case letters? Or is "Epcot" the name of the park? Or doesn't even Disney know anymore? If even Disney is referring to it as EPCOT in official press releases now (which is something that should be lauded and encouraged!), why not just revert to the EPCOT Center name ... or at least officially make it EPCOT, the Experimental Prototype Community of Tomorrow, which comes with a story, a history and a background and isn't just a made-up nonsense word?

What Could Have Been

Germany and Japan have something in common -- and we're not talking about World War II here. At EPCOT's World Showcase, these two pavilions harbor remnants of an EPCOT that could have been ... and, tantalizingly, almost was.

Though it's difficult to make out when you're strolling around the World Showcase promenade, next time you're at EPCOT take a look at both the Germany and Japan pavilions from afar. You'll notice they're unusually large, particularly given that neither one houses a traditional attraction. Disney does its best to hide these structures and not call attention to them, but what's particularly sad is hearing the apparent fate of two impressively ambitious attractions.

As most EPCOT Center enthusiasts know, Germany was supposed to house the "Rhine River Cruise." One concept drawing in particular -- which you can find here -- was one of the first images I ever saw of EPCOT Center. At that age, I had no idea what a Rhine River was, but you can bet I immediately went searching for everything I could read about it. On a recent "Undiscovered Future World" tour, the tour guide explained his understanding of what became of the Rhine River Cruise: It was an approved project at WED/Imagineering, and was such an integral part of World Showcase that the full show building was constructed. Although a final ride concept was not fully conceived (according to this guide), the idea was close enough to being finalized that a few show pieces were even developed, but as the 1970s drew to a close and Disney found itself pouring virtually every extra dollar it had into EPCOT Center, some tough decisions had to be made for the company -- which was unable to secure further financing for the project.

Officially, the Rhine River Cruise got put "on hold," and the intention was to build it after EPCOT opened in 1982. But by 1983, partly thanks to the debt Disney had incurred to build the Experimental Prototype Community of Tomorrow, the company was in no position to add anything at all to its stateside parks. Names like the Bass Brothers, Arvida, and Gibson Greeting Cards became the talk of the town -- and as Disney sought desperately to save itself from being bought, broken up and sold off to the highest bidders, the urgency behind creating a big, new theme park attraction faded. So, by the time Michael Eisner and Frank Wells took over in 1984, plans for the Rhine River Cruise had met their Lorelei. Allegedly, some Imagineers still recall these plans fondly -- though exactly what they were isn't clear; a recent Google search turned up a multitude of alleged storylines for the Rhine River Cruise at EPCOT, but whether any of them are legitimate is hard to know.

Twenty-seven years later, it seems more likely that "Diff'rent Strokes" will have a place in NBC's 2010 fall lineup than it does that the Rhine River Cruise will ever make a comeback. The vast show building is used for show rehearsals and for storage -- and, astonishingly, most cast members don't even realize it exists. Sure, they see it frequently, but they don't know what it is or its history; to them, it's just another large warehouse-style building.

Personally, I've always been curious where the entrance for the Rhine River Cruise would have been. Was it intended to be on the other side of the Biergarten Restaurant? Or where the Sommerfest mural has been painted? Germany has such a fascinating, myth0logy-laden past that imagining what might have been for the Rhine River Cruise is both frustratingly unproductive ... and fascinatingly fun.

Despite Germany's shocking, shameful role in World War II, political reasons are never cited as a reason for not building the German pavilion's Rhine River Cruise attraction. But politics apparently played a heavy role in the 11th-hour decision not to install the "Meet the World" attraction at EPCOT's Japan pavilion.

"Meet the World" operated in Tokyo Disneyland until 2002. An unusual -- and by all accounts painfully dated by the time the 21st century arrived -- account of Japan's history, it combined film, music and Audio-Animatronics to depict key moments from several thousands of years worth of Japanese folklore and fact.

Set on a revolving stage like "Carousel of Progress," "Meet the World" had something else in common with that nostalgic look at American history (as filtered through the lens of electronic advancement): It featured a theme song written by the Sherman Bros. ... one whose lyrics were sung entirely in Japanese.

"Meet the World" was a decidedly traditional Disney-style attraction that had both its fans and its detractors. Given what has happened to World Showcase presentations and shows in the past 27 years, it's probably "Meet the World" would have been as untouched at EPCOT as Tokyo Disneyland and would have ultimately met the same fate. But we'll never know ... though we can speculate, as its show building still stands prominently in the Japan pavilion.

EPCOT Center had a lot of ambition -- ambition that Disney simply wasn't able to realize. It's just too bad that instead of ultimately following through on these exciting projects, Disney just gave up. World Showcase has always needed more rides and attractions, and to think that Disney once had grand plans that were simply never realized is disappointing. But the future is filled with promise and possibility, a lesson learned well at EPCOT itself. So, perhaps there's still some hope.

And Good Show

Sometimes, Epcot shows off in full splendor exactly why it is the most unique, most exciting of all Disney parks. (And, yes, that includes Tokyo DisneySea, which is a close second!)

Bad Show

When some elements at Epcot are so perfect, the parts that aren't really stand out.

Word of warning: Mirrors reflect.

There's really no excuse for something like this.

So, it is all upper-case now?

Bear in mind, Disney just spent $4 billion, mostly cash, to buy Marvel. How much do you think a new stage would cost?

They're not even trying to make the disused World Key kiosks look good -- the plywood coverings are unattractive at best.

And don't worry -- in the next update, EPCOT Central will be calling attention to some good show, just to balance things out!

Random Observations

This latest trip to Walt Disney World and EPCOT provided lots of food for thought. Below, in no particular order, are some observations and musings, some of which will stand on their own, some of which may be developed into later, more detailed blogposts. Bear in mind, it's just a sampling of thoughts ... feel free to add yours!

• With just four small snips, the "Spirit of Norway" film could be perfectly timeless and run forever ... but it would also help if they could project it digitally so the worn-out 70mm print wouldn't look so scratchy.
• It's still a mystery why some people resist that downright majestic five-minute film.
• Whoever decided to move Norway's stroller parking to the lagoon side of the World Showcase Promenade deserves at least a commendation, if not a medal of some sort.
• Journey into Imagination is not a horrible attraction, it just assumes kids are a lot dumber than they are
• It's a crying shame that the entire upstairs of the Imagination pavilion is used only for storage; it looks eerie up there, like it was abandoned in a hurry.
• The Nemo ride that now opens the Seas pavilion is atrocious and gets worse, not better, with time; at least the old, oft-maligned reef ride gave us something to look at beyond cartoon projections.
• How odd it is that "Honey I Shrunk the Audience" has a hard time getting anyone to see it at Disneyland, yet it remains a top attraction at EPCOT.
• Spaceship Earth gets better with every ride, and the video descent is pretty good -- too bad it's all played for laughs instead of having at least some basis in reality (it comes across like one of those cheesy "futurism" cartoons from the 1950s).
• The new moving images of the caveman fighting the mammoth that open Spaceship Earth are just wonderful
• Judi Dench isn't a bad narrator, she just comes across as a bit smug -- especially when she says, "Remember how easy it was to learn your ABCs?" and "Call it the first backup system." Ugh.
• At the Magic Kingdom, it's easy (too easy) to find Magic Kingdom merchandise; DHS merchandise is a snap to find at DHS; Animal Kingdom is filled with DAK-themed product ... so how come there are about 10 SKUs of EPCOT merchandise at EPCOT?
• That said, it's such a thrill and delight to see "old-school" EPCOT logo items.
• But, really, couldn't MouseGear have a whole "EPCOT" section, including futuristic/technology-driven doo-dads and thingamajigs?
• The Fountain of Nations is a kick to watch when it goes into full "water ballet" mode, particularly at night when it's spectacularly lit -- and, astonishingly, each nozzle and light has to be programmed manually. To whomever does that job: Congratulations, you do it astonishingly well!

• Among the things I never knew (or realized) about EPCOT: The park's west side is ruled by water, curves and lots of flowers and trees -- while the more tech-heavy east side is all sharp lines and grassy areas, and gets the harshest sun of the day.
• There seems to be a lack of consensus about whether the EPCOT Center logo on the ground in front of the Fountain of Nations marks the original "center point" of Walt Disney World, or whether it's the center of the wonderful set of inventors' quotes and landmark dates between Innoventions and The Land.
• Boy, those hallways in the southwest section of Innoventions are awfully barren; can't someone add more artwork, a mural or some sort of permanent displays in this area?
• On that note, EPCOT seems to have more unused areas than most theme parks, which is a shame.
• Speaking of unused, can't Odyssey be turned into a permanent, multi-faceted "princess dining" experience? There could be a Belle seating area, an Ariel seating area, a Jasmine seating area, a Snow White seating area ... and still room to spare, and the building wouldn't just sit there unused most of the year.
• An EPCOT cast member told us, shockingly, that EPCOT management is thrilled to have the old Wonders of Life pavilion sit empty, because they can use it for festival headquarters "and it takes pressure off of other locations in the park." Really? Is that the official line? That's pathetic.
• Ballzac has got to go.
• What a missed opportunity that the Teacher's Center doesn't still exist.
• Soarin' is a great attraction but really, really makes no sense as part of EPCOT. (The same cast member told us, "As long as it pulls in guests, no one will see a need to change the film." Yes! That's the Walt spirit!)
• Once you know about the show buildings behind Germany and Japan, they're all you see.
• Illuminations: Reflections of Earth is just wonderful -- it would be great if someone could figure out a way to communicate the "story" to guests in some fashion.
• The old World Key reservation stations outside Guest Relations are still there, just clumsily boarded up; never noticed that before.
• Spaceship Earth is like a great painting; I could stare at it for hours and just contemplate it. It's a truly inspirational and awe-inspiring piece of architecture that is unfairly dismissed as an "amusement park icon."
• How is it Disney can spend $4 billion to buy Marvel and pay its top executive $51 million a year ... but it still "needs" corporate sponsors to run its attractions?
• Epcot is fantastic ... but, man, with someone in charge who had genuine vision, EPCOT could be truly, jaw-droppingly extraordinary. Maybe that day will come.

Kimpossibly Close to the Mark

Engaging younger visitors has always been a perceived problem with Epcot. Based on the number of strollers, toddlers and harried parents that can be seen wandering through Future World and World Showcase on any given day, it's questionable whether it's really an issue -- but, for, oh, the last 27 years or so, Disney has been more or less convinced that Epcot simply doesn't hold appeal to guests who are younger than the legal drinking age.

Mickey & Co. in futuristic and culture-appropriate garb, "The Seas With Nemo and Friends," "Gran Fiesta" at Mexico, Epcot Character Spot, constant re-jiggering of Imagination, the addition of Test Track and Mission: Space -- all of these projects have been undertaken, to at least some degree, because Disney decided that Epcot and kids don't mix.

It's almost an urban legend, Disney's version of the Mayan calendar predicting the end of the world: It doesn't matter if it's true, Disney management believes it to be the case, and they'd doubtlessly pull out piles of polling data to "prove" it.

One of the latest attempts to fix this alleged problem is the Kim Possible World Showcase Adventure, which mixes rudimentary smart-phone technology with a scavenger hunt. And here's the huge surprise:

It's not bad.

It's actually Kimpossibly close to being good enough to suck in adult players.

The premise is simple -- using "Kimmunicator" devices (aka Motorola cell phones), guests will receive clues to help them solve a mystery taking place throughout World Showcase. Clues pop up on the phone, and when each clue/puzzle is successfully solved, the device sends participants racing off to the next location.

Getting guests to engage with World Showcase is a brilliant idea, and it's great to encourage youngsters to learn a little bit about what they're seeing rather than just pull on mom or dad's hand and say, "Come oooonnn, let's gooooo." Epcot as a whole is filled with fascinating details just waiting to be discovered, but this is particularly true in World Showcase.

There's a lot that's right about the Kim Possible World Showcase Adventure. So here's a question: How come every single "recruitment" center stood virtually empty all day? Why do guests either not know about this entertainment option or seem resistant to it? In short, why (at least from the perspective of an observer) does it not seem to be working?

A thought: "Kim Possible" the series certainly had a fan base for a while, but the show barely airs anymore, and new episodes haven't been produced since 2007. "Kim Possible" was no doubt a success, but not one that had major brand recognition outside of Disney Channel-aged guests. In short, she's a minor "Disney character" at best, with dwindling appeal. And since she's "girl-focused," younger boys are less likely to want to engage with the "Kim Possible" brand. (It shouldn't be this way, but, sadly, this gender bias is impossible to deny.)

So, here's another thought:

Keep the World Showcase Adventure, and dump "Kim Possible."

Like "Nemo," "Gran Fiesta" and Eric Idle in Imagination, it's just unnecessary. Kids are not stupid, and they don't enjoy pandering. Adults think it's what kids want ... but most really, desperately, just want to be treated like little adults. They want to see and experience and discover things for themselves. Are there a large number of pre-teen girls who suffer terrible ennui and spend their Epcot touring time texting friends back home? Yup, and they're still going to do that, no matter what. Making sure they're engaged isn't the purpose of Epcot -- it's to reward those millions of young visitors who come to the park with a spirit of adventure, open to experiencing and learning new things. They really, really do exist, but as long as the long-suffering, pre-adolescent teenage girl is held up as the model of Epcot's biggest "audience problem," it's easy to ignore the guests who really want to be there.

"Kim Possible," with all due respect to its talented creators, has seen its day. Its popularity has crested and waned, and even while it has, Epcot remains. It still receives tens of millions of visitors. It remains successful and popular. So, stick with the brand that has the longer staying power.

A revised, Kim-less World Showcase Adventure, properly marketed as an enhancement to an Epcot visit, could be a fantastic way to make Epcot feel new again, even to longtime visitors. As any fan of CBS's "The Amazing Race" knows, traveling around the globe is a not-so-secret desire of a great many people. Epcot has always offered a manufactured, safe version of this fantasy wish-fulfillment, and adding a new element of excitement through a revised World Showcase Adventure could be just the shot in the arm Epcot needs.

Disney's theme-park management just has to trust that Epcot is a strong enough, exciting enough brand on its own. It doesn't need -- never has -- cartoons and Disney characters and animated teenage spies to make it interesting. It offers the world and the future, and there aren't many more exciting themes than that.

So, keep the technology-driven World Showcase Adventure. Offer a "youth" version, an "adult" version and a "family" version. Keep the guest engaged. Keep them guessing. Enrich their visits with a new sense of discovery, fun and revelation. Get them to talk to cast members, find new corners of World Showcase, and learn about the cultures they are seeing represented. Encourage them to explore.

But dump the kid spy. By doing so, you may see lines at the "Recruitment Centers," not cast members who look like they're desperate to get someone, anyone to try it out.

There's No There There

"The trouble with Oakland," Gertrude Stein wrote, "is that when you get there, there isn't any there there."

Oh, Ms. Stein, would that you could see Epcot, and in particular what's now known as "Innoventions Plaza."

Take a look at what was intended for EPCOT Center's overall design aesthetic.

Then look at how the design was realized, circa 1986.

And now we come to 2009:

Now, there are many who say that in its original incarnation -- as it existed until around the mid-1990s -- EPCOT Center presented a vaguely sinister, totalitarian vision of the future, sterile and monolithic, lacking humanity and personality.

But they're wrong.

In its starkly futuristic, monochromatic, mid-century approach to the future, EPCOT offered a sort of reassurance. Everyone was equal; what was on the outside was far less important than what's on the inside. By its very sameness and sleekness, the design reinforced that the promise of some advanced, technologically driven future was within our reach, even if we knew in our hearts it was an impossibility.

Across the World Showcase lagoon was our past, the mish-mash of styles and designs that led us to our current place; but Future World indicated that all of those individual cultures would soon coalesce into a unified whole. Our past was always going to be preserved and protected, but our future was ours to imagine and create in whatever way we wanted.

CommuniCore was the center of Future World, quite literally, and by extension the heart of EPCOT Center. Its design was perhaps the most important element of this highly themed theme park, because it did something no other park had ever attempted: It closed off the guest. It loomed on all sides, hiding what was behind it.

There was no other way to get to the pavilions that ringed CommuniCore, or to World Showcase itself. Every single EPCOT Center visitor had to pass through CommuniCore. This was the core of the community created by guests. Unlike the "hub" of Disneyland or The Magic Kingdom, which could be bypassed, CommuniCore was inevitable.

The two massive buildings that created the circular CommuniCore were both human in scale (they are about four stories tall) and overwhelming in size. Though lined with glass, it wasn't possible to see in; to know what was inside, you had to explore. Even if you chose to start your visit to EPCOT Center with a ride on Spaceship Earth, you would be deposited safely into the middle of CommuniCore.

Cleanly in design, bold in execution, simple in concept, and easy to wander, CommuniCore reminded us that the only way we could COMMUNIcate, the only way we could exist as a COMMUNIty, was to interact with each other. Guests would wander CommuniCore, but with an odd sense of purpose, to get through it and find out what was on the other side. It wasn't warm and welcoming like Main Street, that's for sure, but it also wasn't hostile or scary.

Visually and thematically, this concept of a central "core" defined EPCOT Center. It had trees and flowers (all neatly arranged), was spotless in appearance, offered the reassuring and very natural sound of running water amid the curious design. Our future, it seemed to say, would still contain the simple elements -- water, land, sky -- that have always sustained us ... but what we could achieve with our minds and hands would be what built the world that awaited.

CommuniCore was vital to EPCOT Center.

Now, it's just a jumble of color, noise, visual distractions and aggressive signage. Gone is its stunning uniformity, its promise of a tomorrow just like the one we used to imagine. Returning "Innoventions Plaza" (keep the name if you insist, it's not bad) to its original design would not be tremendously difficult ... but would require a certainty of vision, a confidence of design, that seems to be lacking in the still-sometimes-magnificent theme park that lower-case Epcot has become. Like our own world at large, it wants us to notice it ... not notice ourselves and our responsibilities to guide and shape our own tomorrow.

27 Years Ago Today ...

2009 has been a tumultuous year for me, and I'm sorry that the changes (some good, some difficult and unpleasant, all leading to growth) have resulted in the seeming disappearance of EPCOT Central.

But like the spirit of EPCOT itself, EPCOT Central remains a big part of who I am, and when I realized a couple of months ago that far too long had elapsed since updating the site, I thought it would make the most sense until October 1 to "relaunch" it.

Twenty-seven years ago today, EPCOT Center opened its doors. In the ensuing years, there have been high points -- like the additions of pavilions and attractions-- and low. But EPCOT has endured ... and always will.

As I don't call Central Florida home, it was important for me to have at least one more trip to EPCOT, to spend time soaking it all in, observing, thinking, watching guests interact, exploring both myself and through my personal guests and through EPCOT cast members just what keeps EPCOT thriving. So, in the coming weeks and months, there will be more EPCOT Central, and hopefully you will start reading again.

Thank you for your patience, for your concern and empathy (this has been a difficult year for a great many people, it seems), and for your continued devotion to EPCOT, its ideals and its unique place in Disney's repertoire.

Today marks EPCOT Center's 27th anniversary. It's an occasion worth noting! Here's to new horizons on this, our spaceship Earth.

D23 Explores EPCOT

EPCOT Central has admittedly been tough on the D23 concept. But it seems that the managers of the Disney fan club are trying to listen to feedback -- undoubtedly, not an easy thing to do given Disney's "brand management" inclination to appeal to the masses, even at the expense of passionate fans.

Today, the Disney D23 website features a look back at the opening of EPCOT Center. While not timed to any specific anniversary or event, and seemingly a bit random in its appearance, the D23 article provides some terrific images from early EPCOT.

No, it's not in-depth and it covers ground virtually ever Disney fan already knows. But it's a start, and digging up David Brinkley's quote about EPCOT's achievement is a nice touch. The more EPCOT Central sees of D23, the more it seems it's worth at least giving the benefit of the doubt. Disney's trying, and that says something.

Check out the article and the D23 website (open to all, not just members) by clicking here. It's nice, certainly, to see Disney officially refer to "EPCOT Center." Fingers crossed, perhaps D23 will give us more insight into the future of EPCOT and rare imagery from its glory days in the coming months.

More Disney Than Disney

MiceAge today features a terrific article that looks at some of the plans Disneyland in Anaheim has in store for the summer season. Featured in this article is a look back at a decades-old advertisement for Disneyland's summer season (the ad is shown here, and you can find more at Miehana's photostream on Flickr).

What's rather disarming about this ad is its absolute lack of any Disney characters or reference to "Disney-style" entertainment. There's no mention of Disneyland being "magical." Check out the stylized caricatures of park guests. Notice anything? No children.

The ad is 50 years old, but represents perhaps more canny, sophisticated marketing than is evident today. Disneyland didn't need "Disney" to sell it. The concept was enough. Disneyland was a special place, filled with wonder and excitement. Dixieland music, pop bands, riverboats, Tahitian fire dancers, a speeding Monorail ... there's something for everyone at Disneyland. And despite the fact that 1959 was the year of Sleeping Beauty and The Shaggy Dog, there's no effort to sell Disneyland based on these entertainments (or any other Disney movie). "Disneyland" was all you needed to know.

What does any of this have to do with EPCOT?

Well, consider how little faith Disney has in the very concept of EPCOT or, it's seeming these days, in the concept of a theme park in general. More than half a century has passed since Disneyland opened, yet today Disney is unable to market its parks on anything other than its "synergized" entertainment creations or the increasingly tired concept of "Disney magic." Yes, we all know it's "magical" for little girls to dress up as a princess and romp around a Disney theme park (less magical, perhaps, for the parent, whose wallet is suddenly hundreds of dollars lighter), but is this really the only way to sell Disney's theme parks?

EPCOT has the distinct advantage -- or, depending on how you look at it, disadvantage -- of being unlike any other Disney park. There never have been any easy, built-in opportunities for Mickey and his animated gang to invade the park, which is why even thematically driven efforts like The Seas With Nemo and Friends still feel, at best, uncomfortable. They're not rooted in storytelling, they're rooted in a marketing mindset that fails to understand one basic concept:

"Disney" doesn't just mean "magic."

As Disney's more-sophisticated-than-they-might-have-seemed marketers from the 1950s knew, Disneyland was about a lot more than flying elephants and seven dwarfs and tuxedo-clad mice. It could be many things to many different people.

It's probably one of the very reasons you (yes, you, whoever you may be) are reading this. At whatever impressionable age you were first exposed to Disney marketing, it didn't pander to you and make you feel that the only way to show your love for Disney was to dress up and have character breakfasts. It appealed to your imagination. It promised you wonders you had never before seen.

That was the simple beauty of EPCOT Center. Many longtime EPCOT enthusiasts were hooked from the moment we were promised a glimpse into our future. It had nothing to do with Mickey Mouse or Donald Duck or wishing upon a star. It had to do with tapping in to our not-so-hidden desire to live outside of ourselves, to imagine a world filled with opportunities and untold ambition. In its inherent promise of something extraordinary and wonderful, it became more Disney than Disney.

In its own way, 50 years ago, Disneyland's simple little newspaper advertisement did the same. By not leaning on "Disney," but rather focusing on the wonderful things the park offered, it was more effective at setting a tone than the entire, multi-million-dollar "What Will You Celebrate" campaign that's underway now around the world. Disneyland could take you to distant places, on exotic adventures ... but was as close as the Santa Ana Freeway at Harbor Boulevard.

Disneyland was unlike any other place imaginable. More than any movie or character or other creation of Uncle Walt or his artists, the park defined "Disney" simply by the enormity of its promise.

The same holds true for EPCOT. As Disney continues to struggle with how to bring more "Disney" to the park, its marketing managers would do well to take a look through the company's own history. The late 1950s and early 1960s were when Disneyland made its indelible mark on America and the entertainment industry. Ads as simple as these little guys were more effective in cementing the concept of Disneyland as "special" than all the pixie dust in the world.

So, why continue to shoehorn Kim Possible and the Three Caballeros and Finding Nemo and (no doubt, in the future) other Pixar and Disney "brands" into EPCOT? Why not focus instead on what sets EPCOT apart, makes it unlike any other place on the planet?

EPCOT once promised the dawn of a new Disney era, not just another place to meet "magical" characters. It's that promise and allure of something impossible to find anywhere else that once set Disneyland apart. Imagine what that mindset could accomplish today.

On the Horizon

When spring comes around, the sun stays out longer, the weather gets warmer and some of us start longing for the simple joys of life -- like EPCOT Center's unforgettable Horizons. If you're one of those unabashed nostalgia nuts, check out this cool site from EPCOT Central reader Shane. It's a great little trip back through time!

Clothes-Minded

Unfortunately, the tumultuous economy and recent cutbacks you've been reading about have hit EPCOT Central, and those issues have caused new blogposts to be published less frequently. Thanks for your patience ... as well as your notes of concern about the frequency of postings.)

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Word has begun filtering out recently -- EPCOT Central has heard this rumor from several different sources -- that a major change is being considered for Epcot's World Showcase.

Instead of cast members in each pavilion wearing costumes that represent historical attire that's associated with each country, Imagineering and Disney Parks & Resorts is mulling over the idea of having all cast members in World Showcase wear a standardized costume.

Sadly, though this post is being published just before the calendar changes to April 1, this does not appear to be an April Fool's joke, but rather a serious attempt to cut costs by easing the burden that the Wardrobe department faces at Epcot.

If the change happens, it's hard to imagine even the most ardent supporter of the "Disney's-just-a-business" view having good things to say about this. Even the Mexican restaurant down the street has "traditional" (perhaps stereotypically so) costumes for its waiters and waitresses. Surely Disney can keep up this effort to add to the character, charm and flavor of World Showcase?

The blandness of the "Disney Parks" name may now be visually represented by bland costumes that eliminate the global flavor and feel of World Showcase. Allegedly, Disney believes that guests don't really care about such things, and that a standardized, modern-dress "costume" would somehow make cast members more relatable.

World Showcase should represent the unique attributes of each nation that is represented there. While an update or design modifcation to the costumes in each country certainly would be welcome, sending the message that everyone in the world dresses like a Gap ad is hardly a creative, innovative or appealing solution. (And as the 1970s rendering of the German pavilion that accompanies this post shows, native costumes have been an integral component of World Showcase from the inception of EPCOT Center.)

Let's hope this rumor remains only a rumor, and that the friendly and appealing cast members throughout World Showcase remain a personable as well as visual representative of their countries' unique culture, traditions and history.

In Response to Anonymous

Typically, EPCOT Central doesn't publicly call out responses to posts, though every single one is read (multiple times, usually) and appreciated. However, this one is worthy of making an exception. In response to EPCOT Central's "Marketing EPCOT" entry, a user who chose to remain "Anonymous" wrote, in part:

"Almost all of your posts write about how to re-brand the park and deal with marketing and management. You never consider the internal structure might be flawed. Unlike a Disneyland style park, Epcot is basically a showcase for corporate America. Its in bed with various sponsors to fund the park's operation costs. No other park has a sponsor for every attraction. ..." (Followed by a great deal of valid complaint and comment on EPCOT's sponsorship structure. The entire response won't be quoted, but you can read it here.)

Further, Anonymous claimed that thh suggestion to "re-structure the park back to its original intent is bad. You make no effort to suggest how Epcot (or EPCOT CENTER, whatever) would be able to compliment the rest of Disney's offerings. Its like putting a book in a stack of video games and letting the public chose their form of entertainment. ... What's even more ridiculous is that you're asking them to re-brand Epcot for a niche audience. With that much land invested into the concept, I doubt they'll be gearing towards a niche anytime soon. ... This is why when the company tries to synergize you get things like Kim Possible and Donald Duck...its the only content they have. The parks are extensions of a brand, not the reverse. How do you expect them to manage an entire theme park around a concept when they can't even develop smaller investments (TV or consumer products franchises) around the education/discover concept?"

It genuinely seems to me worth opening up a discussion among all EPCOT Central readers about the subjects Anonymous raises. Partly, this is because Anonymous raises some arguments that I think are probably shared within The Walt Disney Company and, unfortunately, fail to grasp some of the basic truths about EPCOT Center, Disney's theme-park business and the potential of The Walt Disney Company as a whole to become better. And given that Disney is firing many of its employees, charging fans $75 to receive marketing material, just announced that it is halting Hong Kong expansion, and has lost more than $30 billion in market-cap value in recent years, there's obviously a lot of room for improvement.

Two and a half years ago, EPCOT Central asserted that "as goes EPCOT, so goes Disney," and so far, there's been little evidence to the contrary.

So, first, let's get one important fact out of the way -- indeed, almost every major attraction at Disneyland-style parks have (or have had) corporate sponsors. It's not difficult to find a list. They include AT&T, Energizer, Kodak, FedEx, Mattel, NIPPON Oil, TOMY, Dai-Chi Mutual Life Insurance, Fujifilm, RCA, Esso and many others. These are only the attractions at Disneyland-style parks. From the outset, from the very conception of Disneyland, sponsorship has been a key element.

Of course, many major attractions -- such as The Haunted Mansion, Matterhorn Bobsleds, Pirates of the Caribbean, the Indiana Jones Adventure, the Twilight Zone Tower of Terror and others -- operate without any sponsorship at all. Either sponsorships have lapsed, the rides were conceived to be sponsor-free, or there simply was no sponsor interest. Certainly not every major attraction requires a sponsor, and there's no reason that should not be the case at EPCOT.

EPCOT Center was unlike any other Disney theme park from the start. The reason sponsors were sought was not solely to underwrite costs, but because the unusual "pavilion" concept allowed EPCOT's attractions to thoroughly and completely convey a sponsor's intended message. The sponsor's logo wasn't simply pasted onto the ride; the entire concept was developed with the partner's involvement.

So, quite the opposite than "flawed," the sponsorship opportunities at EPCOT are quite brilliant. The problem is, Disney cannot define the park to potential sponsors, cannot articulate a clear vision, and have difficulty helping sponsors understand why such an "old-fashioned" concept is still relevant. In this area, Disney clearly needs some help. When companies are spending literally billions of dollars on acquisitions, brand extensions and new businesses, there should still be money for something that captures tens of millions of people as singularly as a trip to a Disney theme park.

But today's Disney is not like yesterday's. While market cap and overall value have declined precipitously, Disney has the money, the ability and the power to operate its own theme park, even without sponsor money. It can, it just won't, and the question of "why" is indeed a curious one. Why wouldn't Disney want to encourage its own vision of the future, to lay out its own story of what we can be in our Future World, to present its own vision of our peoples in World Showcase? Well, in part, it does appear to want this -- as long as that vision includes Pixar characters, Disney characters or synergistic opportunities.

Disney's "vision" these days doesn't see far beyond its balance sheet, which is too bad -- because when you consider the remarkable opportunity it has created for itself, it's almost scary. Tens of millions of people are in Disney's thrall every year, and yet it does not try to espouse a particular set of views or philosophies. It's a big like a comic-book super-villain bent on "dominating the world" instead being content to sell toys and candy to everyone. Yes, I'm implying here that Disney could use its unprecedented opportunity to spout propaganda for nefarious purposes ... it could also use that opporutnity for remarkably good purposes, employing (as it once did) some of the greatest scientific and philosophical minds to create a vision of a possible future.

But really all it wants to do is sell more toys and candy. Oh, and lots and lots of t-shirts.

That's a major opportunity wasted, if you ask me.

In fact, EPCOT Center (or lower-case Epcot) should indeed"compliment (sic) the rest of Disney's offerings." But I think you were trying to imply that they should all be more alike than different -- an assertion I couldn't disagree with more. That's no more true than saying Disney should make only one kind of movie, only one kind of TV show, produce only one type of toy, publish only one type of book. Just as you would not want every house in your city to look exactly the same, or every piece of furniture in your house to strictly adhere to the same design ... just as you would not want every child in the world to think alike ... or every painting by Van Gogh to look alike ... or every piece of music by Mozart to sound alike ... every Disney theme park should "compliment" (actually, that's complement) each other, not mirror each other.

They should exist harmoniously together. They should each offer an experience that is unique and exciting and entertaining. Totally different, totally unlike the other, yet also making up a wonderful whole.

In fact, you're right, Anonymous: It's exactly like letting the public choose "their own form of entertainment." It's why we have hundreds of TV channels, hundreds of movies released annually, why the shelves of Target or Wal-Mart or Blockbuster are filled with thousands upon thousands of movies. Each one of us likes something different ... and in sum, we can say we share a common love "of movies" or "of reading" or "of Disney," even if our individual definition is different. Unfortunately, Disney, like you, would have it mean only the same thing, narrowly defined, denying itself the one thing that Walt Disney used to encourage us all to believe in: possibility.

Why Disney can't recapture that, why it has become a concept so narrowly defined that it can't sustain EPCOT, why it can't see Spaceship Earth as much more than "a giant golf ball," well ... that is the real disappointment.

As a longtime fan, as a lifelong shareholder, and as a steadfast believer in the things Walt Disney spent his life trying to get us to believe, it is saddening. This quote has been used before, and it will be used again no doubt -- the comment Eric Sevareid made on the night Walt Disney died: "The century hardly deserved him."

Marketing EPCOT

Determining your audience is one of the most important tasks a marketer can perform. It's important to have a thorough understanding of who likes your product, who might like your product, and who just absolutely never will like your product, no matter what you do. It's also increasingly important to find out if you have "brand ambassadors," people who love your product so much, they'd go out of their way to promote it.

So, it's hard to be convinced that, despite its formidable marketing army (which, if rumor holds, will be trimmed significantly sometime early this week), Disney really does understand EPCOT.

There's no doubt Disney understands the concept of a theme park. It definitely gets the idea of a Disney theme park ... so much so, that its most innovative (if that's the right word) development in the past five years has been rebranding all Disney theme parks under the generic "Disney Parks" moniker. Live in Tokyo? You're living near a "Disney Park." Live in the Western U.S.? You live near a "Disney Park." Visiting Paris? You can go to a "Disney Park."

Perhaps, following this logic, a consortium of marketers representing fine art museums could establish a marketing campaign that rebrands every museum, from the Whitney to the Guggenheim to the Smithsonian, as "Art Museums -- Where Fine Art Lives." The "Disney Parks" concept seems that ludicruous ... yet it has stuck.

The Magic Kingdom-style parks are easy. Disneyland, The Magic Kingdom in Florida, Tokyo Disneyland and Euro Disneyland all fit a clearly identifiable mold of what a "Disney Park" should be -- there's a castle, there are cute and cuddly characters, there are rides and attractions for the family, parades and "pixie dust."

But a quarter century ago, Disney made a clear step away from that basic mold. With EPCOT Center, Disney-MGM Studios, Disney's Animal Kingdom, Tokyo Disneyland, Disney's California Adventure and (to a much lesser extent, the awful Walt Disney Studios in Paris, Disney expanded the concept of what a Disney theme park could be. Now it wants to go back on its word.

The problem with that is, in differentiating its parks, Disney understood (through research and hard work) that different members of the family, different types of tourists, different kinds of Disney fans, different age groups ... they all wanted different things. Some wanted thrills. Some wanted "magic." Some wanted to learn. Some wanted to explore. Some wanted visceral excitement. Some wanted active discovery. There was no one "prototypical" Disney theme park guest, so it stood to reason there should be no one "prototypical" Disney park.

Which gets us to EPCOT. It was the first expansion of the Disney theme park concept, opening a year before Tokyo Disneyland, and by far the most unusual. EPCOT Center deliberately sought to be the "anti-Magic Kingdom." From its design to its theme, there was nothing overtly "Disney" about it, except the Disney name. EPCOT was intended to be a brand unto itself, to establish its own meaning and own set of principles.

Opened just as a huge revolution in technology was set to change the world as we knew it, EPCOT presaged these changes and promised that they would lead to an explosion of prosperity for all the peoples of the world. EPCOT gambled that guests would welcome the chance to have a different part of their mind stimulated, to find excitement not in 999 happy haunts or sailing over London, but in the boundless opportunity presented by our own creations.

So, Disney (at least for a time) knew exactly what EPCOT was ... but from the beginning to today, you have to wonder: Did they know who it was for?

EPCOT is not for a family of six who wants to spend their time being passively entertained. EPCOT is not for small children who want desperately to dine with a princess or pirate. EPCOT is not for people who find the news and documentaries boring and pointless. EPCOT is not for guests who feel education is meaningless. There are many people EPCOT most decidedly is not for, and on those guests EPCOT Central passes absolutely no judgment. Many people can spend three days at the Magic Kingdom and feel entirely fulfilled. They can make a side trip to Disney's Hollywood Studios and ride some thrill rides and see some shows and never really come face to face with "reality." Even Disney's Animal Kingdom presents the kinds of experiences that most of us (not "them," but, frankly, most of us -- all of us) will never see: African savannahs and Asian jungles feel as exotic and fantastic as a splash down a cartoon mountain.

So, who is EPCOT for?

EPCOT is for the many millions of people who want to discover something new on vacation. The same people who are targeted for "Adventures by Disney" (real-world excursions around our actual planet) are the families and guests who are ideal EPCOT guests. Kids who love science, the arts and social studies. Adults who like learning and exploring.

There are many, many different target groups that are the ideal EPCOT consumer.

Trouble is, Disney seems to have stopped breaking down its demographic outreach in those ways. EPCOT is now just part of Walt Disney World, which in turn is part of "Disney Parks," and as such, it must conform. There is no room for it to be unique or challenging.

Soon, I hope and believe, Disney will come to realize that its greatest asset, what truly sets it apart from any competitor, is the variety of its parks. Each one is truly different from the other. The more they become the same, the less reason there is to bother visiting multiple parks. If you've had a Nemo experience at Animal Kingdom, do you really need it at EPCOT? If you've dined with the princesses at the Magic Kingdom, is it a necessity to do it in World Showcase?

Maybe for some. Not for others. And those others are where Disney's growth opportunity lies.

In this down economy, Disney has to start looking at ways to really make itself different and distinct. The "sameness" of its theme parks just is not going to be able to sustain. They've been turned into commodities, not concepts.

As that begins to happen -- and I have to believe that with the scrutiny being given to all areas of The Walt Disney Company and corporate America that it will soon -- Disney will have that "a-ha" moment ... "We have different parks, not just multiple variations on essentially the same thing! Wow! And each one has a different audience. Big audiences!"

The media environment has become increasingly fractured, increasingly compartmentalized -- it's easier than ever (though more time consuming) to reach specific target groups, to craft messages unique to them, that will appeal to a specific niche audience, such as those millions who would be completely "turned on" by the concept, ideas and philosophies of a revamped, updated, reinvigorated EPCOT.

As Disney attempts to get smarter about its marketing efforts, hopefully they'll come to this realization: They've been sitting on a gold mine, they just have to find the key.

The Epcot-city of Hope

Yes, it's a play on words, using the title of President Obama's book. But it's also what many Disney fans wish EPCOT Center had become -- that shining city in Central Florida with a massive spire at its heart, streets and businesses radiating outward from it in circular fashion.

There's a reason the notion of an EPCOT city has persisted for more than four decades. Though situated in the flatlands of Florida, as soon as it was introduced by Walt Disney himself, a few weeks before his death, it became the proverbial city upon a hill, with the eyes of all people watching.

EPCOT the city represented hope, an assurance that the ills of the civil-rights struggle, of violence and war, of poverty and disease could be put past us. Walt Disney, who just 38 years earlier was a struggling, near-destitute cartoonist, was the man who could make it so. If he could make us believe in our childhood dreams, allow us to experience adventure and fantasy ourselves, take us to the bottom of the ocean and bring life to a magical nanny, if he could make us forget our troubles on screen, he above others could make us forget them in real life, too.

When he introduced the concept of EPCOT as a city, Walt Disney promised hope.

He assured us that the turmoil that surrounded us on a daily basis could become distant memories if we applied enough innovation, creativity, dedication and vision.

When he died, the plans for the city mostly died with him ... but, Alexander Pope told us in the 18th century, hope springs eternal.

Hope for a better future. Hope for understanding and prosperity.

In 1982, we saw that the grand ambition may have died, but the hope it represented was still alive. EPCOT Center was not Walt Disney's promised land, but it embodied many of its ideals. It offered a glimpse into a future world in which we could actually solve our problems -- and gave us the seeds to take home and plant that could grow, one by one, into solutions. It presented a view of a world in which Mexico and Norway sat next to China, in which Italy and Japan, our enemy 40 years earlier, flanked the United States. The world, EPCOT Center promised, could live in harmony.

We are once again facing a time of uncertainty, unhappiness, fear and disillusionment. But where is the hope? Today's Epcot tells us that while there are things to discover, mostly life is about entertainment and thrills. Sit back, relax, enjoy the ride, forget about the real world, forget about your troubles, just have fun.

EPCOT the city and EPCOT Center the theme park reminded us that the future is in our hands. The only thing Epcot leaves in our hands is a Fastpass and an airsickness bag.

We need hope. We need Disney's incredible creative minds to show us again that the eternal flame of possibility hasn't died, no matter how meekly it may be flickering.

I'm No Fool, No Sirree!

Note: See March 10 update on this post, below.

Only rarely does EPCOT Central comment on non-EPCOT-related Disney news, but in this case, the detour feels warranted.

Tomorrow (Tuesday, March 10), The Walt Disney Company will hold its annual shareholder's meeting not in Anaheim, not in Orlando, not in New York, but in beautiful, downtown ... Oakland. At least it's not quite as bizarre a location as Philadelphia or Milwaukee, where the company has run to in years past to avoid confrontations with angry stockholders. This year's meeting is in close proximity to Pixar Animation Studios, though given that Disney's market cap has shrunk by more than $30 billion in recent months, it is worth wondering if Disney maybe should have stayed a little farther afield to avoid shareholder ire.

But more to the point, one of the worst kept secrets among Disney enthusiasts is the planned announcement on Tuesday of "D23," a new magazine-slash-fan-club that seeks to engage older, longtime Disney lovers.

So, eight years into the 21st century, Disney has finally acknowledged that we exist. And now the company wants more of our money.

It wasn't all that long ago that Disney operated a free fan club and fan magazine -- The Magic Kingdom Club and its Disney News. There were better, more polished magazines out there, but I can't be alone when I say that I can pull an issue of Disney News from the 1980s off of the shelf and pore through every article once again. (It's also fun to see the old theme-park admission prices.) In the 1990s, Disney dismantled MKC and Disney News, and instead offered a pay-for-play version of the "discount club." But that wasn't good enough, and ultimately that concept was done away with in favor of an "affinity" credit card -- buy enough Disney stuff, and you could get a free Disney theme park ticket ... assuming you were willing to spend the literally tens of thousands of dollars needed for that perk.

Disney also used to operate a modestly scaled collector's event called the Disneyana Convention. Typically held at Walt Disney World, the Disneyana event offered all sorts of great opportunities to meet and interact with Disney actors, writers, directors, voices, animators and other celebrities. The price was steep, but Disneyana was clearly intended for those who were serious about their love of Disney.

But now that's gone, too.

For the most part, Disney has turned its back on serious Disney enthusiasts. Insisting that Disney is a company that makes childrens' dreams come true (just look at the cover of this year's Annual Report), it has become a company for children, not for the child in all of us. One by one, many of the special touches that Disney theme parks offered to more "mature" fans have fallen away -- one need only look at the Golden Horseshoe Review at Disneyland, or the barely operational Carousel of Progress, or Horizons at EPCOT, to name but a few. In their place have cropped up new, "synergistic" opportunities to relentlessly and shamelessly plug new Disney movies and TV shows.

Now comes D23.

Rarely, if ever, has a marketing ploy felt so crass, so manipulative, so aimed directly at the wallet.

For $16, you can buy a glossy magazine that retells stories most Disney fans have heard many times over.

For even more money, you can join a membership club that nets a couple of nifty lapel pins.

And for even more money, that membership will get you a few bucks off of a multi-day Disney convention to be held in Anaheim in September.

No doubt, there will be many fans who won't view this through cynical, wary eyes. But D23 isn't really about honoring Disney fans -- it's about getting more money from cash-strapped fans in the midst of an economic downturn the likes of which haven't been seen since "The Three Little Pigs" first came to theaters.

D23 claims to preserve Walt Disney's legacy while the company continues to trash it.

There are many fans who complain that EPCOT Center failed to honor Walt Disney's greatest dream because it turned the idea of a full-fledged city into a theme park. EPCOT Central would like to suggest this:

The Walt Disney Company fails to honor the man who created it every time it turns its tin ear to the wind, pretends to listen to the voices of its "fans," and then offers another cash-grab marketing ploy in response. (Have you ever been to one of those "collector's" events at the theme parks, the ones that charge big bucks for the, erm, privilege of buying a high-priced item?)

Rather than preserving the Disney Legacy for a few fans wealthy enough to fork over the several hundred bucks it'll cost them for the full "benefits" of D23 membership, why not instead revitalize Disneyland to more closely reflect Walt Disney's ideals? Instead of creating a fan club for "serious" Disney fans, why not study the business philosophies and vision of the man who founded The Walt Disney Company and turn to his extraordinary success for inspiration?

For some reason, The Walt Disney Company is about to put a lot of effort into D23, a program that by its very nature excludes fans who can't afford membership, or those who don't (in these very difficult economic times) have $16 to spend on a magazine. Disney used to be about providing entertainment for everyone -- not slicing it up in ways that excluded others.

For those who regard D23 as a boon, here's hoping it is indeed a success -- and that there are enough passionate fans left, after being ignored for the better part of the past decade, to warrant a three-day Disney convention, one whose sheer size reportedly is intended to rival Comic-Con's. For those of us who aren't gonna be suckered by this shameless attempt to wring more money out of our wallets, after watching The Walt Disney Company neglect Walt's legacy for years, here's a little tune to consider:

I'm no fool,

No sirree,

I'm not gonna join

That D23!

------------------------

3/10/09 Update:

There has been noticeably little mainstream news coverage of the D23 "announcement," but USA Today's pop-culture blog did pick up on the news ... and not in a way that was laudatory toward Disney. The headline: 'Disney reaches out to the nerds.'

Apparently Disney fans don't even warrant the more affectionate "geeks" anymore. The article also points out that "unfortunately" the membership price is steep. Here's the full article, which is not exactly how you want something like this launched in the media.

.

EPCOT Center Was Boring

"But," the oft-heard argument goes, "EPCOT Center was boring. No one liked it."

Sorry, EPCOT Central isn't buying it.

Say the EPCOT had to change, and you're on to something. Say that EPCOT grew stale and didn't reflect the rapidly changing times, and it's a fair assessment. Say that EPCOT paid the price for not explaining itself to guests, and the argument holds water.

But, folks, EPCOT Center was not boring.

In 1993, film critic Roger Ebert (who used to work for Disney) wrote a review of the richly emotional The Remains of the Day, which he compares with the simliarly thoughtful The Age of Innocence. His review concludes: "I got some letters from readers who complained the movie was boring, that 'nothing happens in it.' To which I was tempted to reply: If you had understood what happened in it, it would not have been boring."

So it was for EPCOT Center, a theme park that from inception was designed to be unlike any other, and suffered the consequences for its one-of-a-kind ambition.

EPCOT Center, as it was conceived in the years after Walt Disney died, was a hard-to-define combination of world's fair and theme park, where guests could learn about the world around them -- both how it worked and who made it work. Its two distinct areas, Future World and World Showcase, may have seemed quite separate, but shared a common theme: We are all in this together.

Politics and economic philosophies were cast aside, and with good reason. Because at its core, EPCOT Center sent a message that whether we believed in progress at the hands of major corporations, or whether we believed that individuals shaped our destiny, the world was ours to make of it whatever we could dream.

This was a brazen concept. It conformed to no pre-existing "rule" about theme-park design. There was no "hub-and-spoke" concept to lure guests into the park. Visually, much of EPCOT Center couldn't be seen from any given location. Simple "rides" were transformed into lengthy experiences. Each of these experiences hewed to the theme. It wasn't enough to create a fun attraction; the central concept of our future world or our shared global culture had to be reflected.

Where EPCOT Center went wrong was less in the execution -- though that was no doubt hampered by the economic realities of spending $1 billion in the late 1970s and early 1980s, money that Walt Disney Productions simply didn't have -- than in the communication of the message.

What was EPCOT Center? It was almost impossible for guests not to know that it existed; they just didn't know what it was, and once they got there, those who hadn't sought out the explanation for themselves were left not knowing what to make of it. Two miles away, The Magic Kingdom was filled with fun and frivolity. Around the Walt Disney World "Vacation Kingdom," simple pleasures like golfing, tennis, water skiing and horseback riding beckoned. They didn't need explanation. EPCOT Center did.

One of the most frequently maligned attractions of EPCOT's early days was the Universe of Energy, sponsored by a Exxon -- a company that, even in the oil-crazy days of the 1970s, was hardly a bastion of trust and integrity. Exxon had an agenda, and the Universe of Energy proved a perfect platform from which to extol the virtues of petroleum-based energy products. With the leaden, stentorian tones of a dull college professor, the attraction insisted that oil and gasoline would lead the way. Considering the times, and particularly what followed EPCOT Center's opening, the attraction was tone deaf and, yes, dull.

But was it boring? Not to anyone who disagreed with its view. Not to anyone who looked beyond the surface to explore the ideas and concepts that were buried just under the surface. If the Universe of Energy wasn't exactly inspirational, it wasn't boring. Even in its deceptive simplicity, it was unusually complex in its ambitions.

No, neither the Universe of Energy (used here as just one example) or EPCOT Center could be defined as "boring." Challenging, perhaps. Ambitious and not entirely successful, without doubt.

The problems with EPCOT Center, looking back, came not from execution, but from expectation. Guests expected to find the prototypical, happy, silly, tune-filled Disney merriment, but came away confused. Confusion is never good for a brand-conscious company like Disney, so over the years, Disney marketeers sought to decrease the confusion.

"Epcot" became a "discovery park" for a while, and today has no real definition. It's just another "Disney park," one that can't be defined as "the Hollywod park," or "the animal park" or "a place where fairytale dreams come true."

EPCOT Center has never lived down its early reputation as being boring. But it didn't earn that reputation. More accurately, Disney never tried to combat that label. Instead of developing a team of marketers, publicists, brand managers and operations staff who could further define and understand EPCOT, Disney gave up on it. Now, it's a dumping ground for anything that doesn't quite fit anywhere else. It's a hodgepodge of ideas, one that seems somehow easier to define for its lack of a consistent theme than it ever was when it knew what it wanted to be.

EPCOT Center was never like any other place. It might be true that few 11-year-olds were blown away by the place, found it to be exciting and captivating. But as one reader recently observed, when he first visited the park, he found it boring. Today, he can't get enough but his family finds it dull.

As a high-school teacher used to say to our class, "Only boring people are bored." For those of us who went in knowing what to expect, who were willing to open our minds to the ideas presented (even if they were rudimentary), who wanted something more than passive entertainment, EPCOT Center was hardly boring, and could have grown and changed into something even more spectacular, even more ambitious ... not just a dumping ground for cute cartoon mascots and high-tech thrills.

Had EPCOT Center truly been boring, this blog wouldn't see thousands and thousands of readers every month. It would have been forgotten. As flawed as it may have been, EPCOT Center stirred the imaginations of a great many who visited it. Only time will tell, but it's hard to imagine the same thing happening with the lower-case Epcot. It just seems like a big waste of a great idea.

Our Future, Epcot's Future

Your vehicle is resuming its journey. Thank you for your patience!

EPCOT Central apologizes for the delay.

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Last week, when speaking to Congress, President Barack Obama once again (for this EPCOT-loving listener, anyway) evoked thoughts about what went wrong with Disney's most ambitious theme park ... and about why there is no better time than now to get back to the business of making it work properly again.

EPCOT Center had an ambition unlike any theme park before or since. Its goal wasn't simply to entertain, it was also to inform and inspire. Guests to EPCOT Center were expected to be active, not passive, participants in the experiences.

It was an ambitious goal, and because it was so unlike anything else, Disney ultimately lost sight of it. It's no easy thing to try to "monetize" the desire to "inform and inspire." Entertaining people is much easier.

But here we are, a quarter of a century later, facing challenges unlike any that most living Americans have ever experienced. The outlook is dire, there is no doubt. Will we be able to meet the remarkable demands placed on us in the next three, five, ten, twenty years? At times like these, people need to be inspired.

EPCOT Center may not have done everything perfectly, but inspiration is indeed what it tried to impart. It was a theme park, to be sure, but it also sought to have its guests leave feeling edified, feeling eager to learn more about what they had experienced. For a while, a short while, Disney even tried to encourage EPCOT's ideals outside of the theme park, by operating a teacher's center within the park, by producing educational materials and by producing a magazine.

Today's Epcot, alas, is a place to have a good time and spend some money, not a place to learn. It's a place to talk with Crush the Turtle and drink your way around the world. Few guests likely come away from Epcot eager to launch their own explorations of the seas, transportation, space, energy or international culture. Epcot is about diversion, not inspiration.

Still, some 11 million people a year visit Epcot, the majority of them Americans. A healthy percentage of them are of a very impressionable age. What they learn and experience at Epcot could change their lives, could inspire them to forge a different path, and to influence their friends and peers.

But Epcot is wasting these opportunities -- either through sheer neglect (as in the Universe of Energy), through a misguided notion that vacationing guests just want simple thrills (as at Test Track), or through a lack of understanding of enormous potential (as with the park's overall theme).

As our President lately has been telling us, we are now paying the price, as a nation and as individuals, for years of choosing expediency and immediate gratification over long-term dedication and principle. Similarly, Disney is paying this price with Epcot. Now is the time for change.

The Walt Disney Company has a fantastic opportunity to begin rebuilding EPCOT Center to its former glory, making it more meaningful, more relevant and more influential than ever before. That doesn't mean tearing down what is there and returning the park to its 1982 guise. It means focusing on the core values of EPCOT Center, recognizing that Disney has the opportunity to create a theme park that actually reflects the world around us, a world on which it can have genuine impact.

The next four years (and beyond) are filled with challenges, but last week, Obama started drawing the map to a destination that promises to be better than where we are now. He reminded us that we are all passengers on Spaceship Earth, that we're setting forth on a grand American Adventure, and that the actions we take today and in the months ahead will shape our Future World.

Its original promise of being an always-changing, ever-growing place might have seen EPCOT rather immediately reflect our current environment. Instead, it is stuck in carefree, "fun" mode. Still ...

With care and effort, EPCOT could be one of the most extraordinary destinations Disney has ever created. It could constantly change to make us more aware of our world while never being staid or overbearing. It could be an EPCOT for these times, as well as for all times.

But Disney would need to put aside "immediate gratification" projects like more Disney Vacation Club resorts and new Pixar-based attractions ... to turn its back on short-term gain in favor of long-term vision.

The world is struggling to believe in a message of change and hope, to believe in a better future. It's hard not to remember, as the President speaks, about what EPCOT was meant to be, what it almost became. EPCOT Center was conceived in an era of turmoil and change. Perhaps an era of turmoil and change can once again have an impact. If EPCOT is at all important to The Walt Disney Company, there's no better time than now to prove it.