Tuesday, April 30, 2013
Just when I think I might love EPCOT Center a little too much, I run across something like this absolutely extraordinary site that contains the most informative, fascinating explorations of the Japan pavilion at EPCOT I've ever seen.
While I knew there was a massive, unused show building in the Japan, I was unaware of exactly why Meet the World never opened, aside from concerns Walt Disney Productions had about how American veterans would perceive the show's depiction (or lack thereof) of World War II.
This video is a brilliant example of just how much thought and care went into planning and creating EPCOT Center, and why it remains the world's most unique, and fascinating, theme parks.
So, follow this link and enjoy!
Monday, April 29, 2013
Thanks to the urging of several readers, EPCOT Central is now on Twitter, joining the masses of people who somehow have figured out ways to express themselves in 140 characters or less!
While it's no substitute for World Key (but then, what is?), EPCOT Central's Twitter handle is:
Thanks to those who suggested it!
This breaks my heart.
It is stunning technology. There's no better place than EPCOT to apply such a remarkable display of ingenuity. It is incredible to witness.
And it's so utterly wrong.
Guests will love it. They'll think it delightful and adorable and fantastic, and they'll take lots and lots of videos and pictures to send to friends back home.
Executives will crow about the cross-marketing opportunity. It shows the perfect marriage of Disney and its pricey Pixar acquisition.
But all it says to me is that given the opportunity to showcase such jaw-dropping technology and demonstrate how it could be used to improve the world ... Disney has used it as an opportunity to bring more cartoon entertainment into EPCOT.
This wonderful theme park used to herald the "Dawn of a New Disney Era." Now it simply serves as a billboard for the Opening of a New Disney Movie.
So much promise, squandered! If that makes me a curmudgeon, so be it.
Saturday, April 27, 2013
In the three and a half years since the last EPCOT Central post, a lot has happened. More than a quarter of a million people have visited EPCOT Central, a number that's just staggering to me. Each day, between 100 and 200 people still visit the blog, even though it hasn't been updated since December 2009.
I didn't go away, but I did mostly move on from my bitter disappointment over what's happened to EPCOT Center.
Or so I thought. Until I began thinking about recent Disney history.
Since 2009, though, Disney has spent more than $8 billion to acquire Lucasfilm Ltd. and Marvel, which joined previously purchased Pixar and The Muppets (as well as smaller, more unusual acquisitions like Tapulous), meaning the company that was built on the creativity of its founder became a company that simply manages the creative content produced by other companies. To do this, Disney has spent literally tens of billions of dollars, turning its back entirely on its own heritage.
For those who grew up anticipating whatever it was Disney would create next -- an animated feature, a weekly TV series, a theme park, a comic book, a cartoon, a live-action movie -- it's been a disconcerting 10 years. We've said goodbye to what Disney was and watched Bob Iger's Disney 2.0 become a brand-management company, not too different from the kind of company that stole Walt Disney's own creations away in unscrupulous fashion and insisted Walt create what they wanted.
Disney's expensive spending spree is that it came at the expense of Disney growing its own brands, an activity that ultimately proved too expensive ($10 billion worth of expensive?) and uncertain. For every Little Mermaid and Lion King, creations that stand the test of time, there was a Brother Bear and John Carter.
But ironically, Disney ignored a brand with massive potential, a brand that could be defined in virtually any way they wanted, and one they already owned lock, stock and barrel: EPCOT.
Other than the "Disney" name itself, EPCOT had enormous brand equity and could have been the second-biggest brand in Disney's stable, all without making a multi-billion-dollar acquisition. It could have been developed and shaped into a brand that allowed Disney to grow far beyond its core business of entertainment, while also creating enormous entertainment-branding opportunities itself.
Now, to understand why this didn't happen and why Disney instead paid billions and billions of dollars to acquire brands it didn't already own, you have to understand that Disney's corporate teams in Burbank place an undeserved "also-ran" status on their theme parks in Florida. The parks are great places for corporate retreats or cheap vacations for executives and their families, and of course they're cash cows. But they're not hip, sexy or cool. Team Disney Burbank employees chafe at being called "cast members," and they thrive on the wheeling-dealing mentality of L.A. Backwoods Orlando is just that: second-rate.
So, it's not surprising they would not turn to Walt Disney World for ideas. On top of that, they by and large have no awareness of or interest in Disney history and heritage. To them, Walt Disney was a kindly, doddering old man, not a visionary businessman who made Steve Jobs look lazy. He's a myth, a construct that left the legacy of an exploitable brand name.
They're completely unaware of the serious, impressive research Walt Disney and his core team did into the central ideas behind EPCOT Center. They are likely entirely oblivious to the plans WED Enterprises once had for the Monorail and the People Mover. They have no idea that when it opened in 1982, EPCOT Center was a proving ground for technology we take for granted today: touch-screen computers and fiber optics, two-way telephonic conferencing and interactive networking.
That's why it's not really a surprise that Disney didn't build on the $1 billion they spent on EPCOT in 1982 (likely approaching $10 billion in today's dollars) and recognize that they had a great, untapped brand in EPCOT that was just waiting to be exploited.
EPCOT Center opened just five years after the first Star Wars film, and was in large part a similar response to the socio-political culture: People were tired of being told how bad everything was, we wanted optimism and hope. Now, Disney owns both of those brands, but is actively building only one of them.
EPCOT Center at its core is filled with the very ideals of Marvel super heroes: Technology can be used for good, we live in remarkable times, and humanity is worth saving. Now, Disney owns both of those brands, but is actively building only one of them.
Discovery Channel (which Disney does not own) has become one of the most successful channels on cable TV, but its programming is not that far off from EPCOT's central concepts of education, exploration and discovery.
Apple has become wildly successful by creating technology that meets every day needs with style and flair. Explore a little bit about EPCOT Center in the 1980s and early 1990s, and it's striking how similar its mission was to Apple's.
There might at one time have been a line of EPCOT-branded computers and household technology.
There might have been an EPCOT Channel on TV.
There might have been an EPCOT Pictures at Disney to produce exactly the kind of entertainment that Lucasfilm Ltd. and Marvel bring to the company.
There were a hundred ways Disney could have built on the EPCOT brand and all the promise it held, and with far less than $10 billion, Disney could have continued to refresh and renew EPCOT, to have made it, year after year, into the most remarkable showcase for technological and human achievement that anyone has ever seen.
As recently as 15 years ago, no one would have foreseen the ways in which technology became ingrained in our lives, how it infiltrated even the most mundane areas -- and how it led to social networking, which brought our world closer together, bridging cultures and ideas.
EPCOT envisioned all of that. The pavilions, attractions and presentations of EPCOT Center when it opened are remarkable for the kind of prescience and foresight they contained.
Disney let EPCOT slip through its fingers as a brand. For a company that prides itself on being the world's best brand marketers, it's rather astonishing to see how Disney failed to notice that right in its own backyard, it had what could have been one of the best-known, most potent brands that relates to virtually every aspect of our lives.
Disney still has the EPCOT brand. Maybe one day, someone at the terracotta dwarf building will recognize that EPCOT isn't just a place to cram in more Disney and Pixar messaging ... that EPCOT is a brand unto itself that Disney has egregiously ignored, despite its remarkable potential.
Thursday, December 17, 2009
Sunday, November 29, 2009
Here's a shocker to those who say EPCOT Central wants to turn Disney's most ambitious theme park into a shrine to the 1980s:
Bringing "Captain EO" back to EPCOT would be a bad idea.
A really bad idea.
The idea has been making the rounds -- and allegedly has gotten as far as an executive screening at Disneyland -- because of last June's tragic death of pop star Michael Jackson. Twenty-three years ago, "Captain EO" was a sensation at Disneyland, and there are many who would love to see the 3-D musical adventure once again.
Sure, it would be fun. Once.
But quite apart from the nagging, persistent allegations of child abuse leveled at Jackson, there are two huge reasons "Captain EO" should remain vaulted, particularly at EPCOT:
1) The 3-D is simply not very good. It never was, really. The 17-minute movie was quite literally too dark to ever "read" quite right, despite its popularity. But the 3-D technology used to make the film has progressed enormously in the past two-and-a-half decades, and already there's a huge difference between the 3-D techniques used in movies like "A Christmas Carol" and "UP" and the relatively rudimentary processes used at Disney theme parks. Once you see a theatrical 3-D presentation like "Carol," it's hard to accept theme-park 3-D technology as anything other than a cut-rate version of the real-thing. Why bring back "Captain EO" if it's not going to be digitally enhanced and presented in one of the new 3-D technologies? It's just not impressive.
2) It's dated. No matter how much you adore Michael Jackson and his music, everything about "Captain EO" feels stuck in 1986, from the music itself to the character and production design, to the makeup, to the "analog" visual effects. "Captain EO" is a curio from the past, not a vision of the future of entertainment.
It would, no doubt, be great fun to see "Captain EO" in 3-D once again. But after the first blush of novelty, do we really want a divisive, controversial and, frankly, dead pop star to be the centerpiece attraction of a Disney theme park, especially one that ostensibly celebrates our technological future?
Nostalgia alone isn't enough to fuel long-term interest in "Captain EO," and hopefully once Disney realizes how much it will cost to refresh, revive and restore this 70mm, low-tech wonder, they'll come to their senses.
If they're really serious about reviving something memorable from the 1980s, there's this little thing called Horizons ...
Sunday, November 22, 2009
Scientists today announced unbelievable discoveries deep in the oceans of our own planet.
"Until now, scientifically inconceivable. Yet there."
It's a stark reminder, as The Living Seas at EPCOT Center used to remind us so dramatically, that beneath us is "a world where we have spent less time than on the surface of the moon."
But, gosh, cartoon fish are just so much more fun, aren't they?
Thursday, November 19, 2009
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.
* Thanks to an anonymous EPCOT Central reader for pointing out that an earlier description of COSI's size was incorrect.
Tuesday, November 17, 2009
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.
Tuesday, November 10, 2009
"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.
Sunday, November 01, 2009
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.
Wednesday, October 28, 2009
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 ...
Friday, October 23, 2009
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.
Friday, October 16, 2009
- 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.
Wednesday, October 14, 2009
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 ...
Monday, October 12, 2009
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?
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.
Thursday, October 08, 2009
Wednesday, October 07, 2009
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!
Tuesday, October 06, 2009
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.