A Smell of Orange

For reasons not entirely clear to me, traffic to EPCOT Central has increased by about 65% in the last three days, compared with average daily traffic. To those of you who are new to EPCOT Central, welcome. To those who are simply reading with more frequency, thank you!

Also increasing is the amount of mail, both positive and negative. The negative responses generally follow the same outline: They come from "ghost" addresses that can't be replied to, they take issue with the tone of EPCOT Central; they feel The Walt Disney Company's management, particularly Jay Rasulo and his team, are doing a phenomenal job; they believe EPCOT Center was a disaster and that only by turning it into "Epcot" has Disney been able to save a monumental blunder.

Likewise, they believe that EPCOT Central wants to turn Disney theme parks "into a museum." Well, anyone who has read more than one or two EPCOT Central posts knows that's not this blog's intention; no one would be more disappointed to find that a Disney theme park hadn't changed in 20 years than me. But the "change is good" mantra isn't always true. Not all change is good. Don't tell me you like being 20 pounds heavier than you were in high school, that you like losing a job or learning of the death of a loved one, that you enjoy the nation's economic recession. No, not all change is good. Just ask anyone who's been watching the downard trajectory of DIS lately.

But some changes are, and those should be celebrated. And EPCOT Central does celebrate them when they are genuinely for the better.

If you don't see a lot of celebration in these changes, maybe that tells you something of the way EPCOT Central regards the changes made in the past 10 or so years. Then again, for instance, changes to The Land have mostly been for the better. And even though it ain't no Horizon, my stance on Mission: Space has softened. A lot.

But it always comes back to oranges.

Watching the Horizons videos (which you can find by scrolling down a bit) reminds me of what Disney used to do so right, what used to work so well before the financial mindset crept in that each and every attraction was somehow a "mini-profit center" in and of itself.

From the 1960s to the mid-1990s, Disney wanted first and foremost to get the experience right, to have a guest emerge from a Disney attraction with a possibly unspoken, but monumentally important, feeling that no one except Disney could do it like this.

Horizons certainly gave us that feeling, and at no place in the expansive ride was it more evident than the orange-grove scene. For that one moment, we were completely transported to another place, where something unusual and beyond our limited scope of imagining was taking place ... and we could smell it, too. The illusion was complete.

Horizons took us in a three-dimensional way to a place we could never go ourselves, and then took the time, took the care, took the effort to wait until we were in exactly the right position, in just the right place, to give us that orange scent.

Sure, it was a cheap effect. It probably wasn't all that complex to do (though it did take some thinking to figure out how to make that scent also go away). But it worked.

It worked in a way that it doesn't quite work on Soarin', where the film-based component doesn't quite make you feel as engaged. (Yes, I know, this is totally subjective, and while I love Soarin', it never quite connects with me the way a ride-through does.) It worked in a way that is sorely lacking in Mission: Space or Test Track, where the thrills are from adrenaline, not from the excitement of seeing something unexpected.

More than that, every time a smell an orange, I'm transported back to that moment, even though the ride has been closed for years. I remember that scene, I remember the feel of being next to my family or friends in that car, in that building, on that ride, at that park. That smell brings a little thrill to my heart every time I encounter it.

I smelled oranges millions of times before "Horizons," and I've smelled oranges millions of times since. Yet that one moment made a memory that lasts a lifetime.

That's the business Disney and EPCOT Center used to be in: lifetime-long memories.

Not 10-second thrills.

If We Can Dream It ...

There was a time when EPCOT Center made you believe that "if you can dream it, then you can do it." And to remember those times, there can be no better than the Horizons ride tribute that "Century3Horizons" posted to YouTube. Whoever you are, Century 3, thanks for an incredible and wonderful reminder of why we loved EPCOT Center so very much. All three parts of the ride-through are below.

(Apologies for the double-post today. You can find my earlier Sunday post below or by clicking here. It's not nearly as hopeful or wonderful as this video, though!)

Let Them Eat Mickey-Shaped Cake

There they go again.

In 2007, The Walt Disney Company's Theme Parks & Resorts division raked in $10.6 billion in revenue, with operating income of $1.7 billion ... but they want us to think they're doing us a favor by farming out fan celebrations to a small, rag-tag group of fans.

Please don't get me wrong. I love that a group of fans cares enough about Disney's theme parks to do what Disney itself won't. It's great to know that at least someone cares.

But take a look at the WDWCelebrations.com website, and you'll see something disturbing:

The Celebration 25 event was officially embraced by Disney management and was given the rare privilege of working closely with the management and staff of Epcot® to provide in-park event check-in, group history walks, a press conference, and a private dessert party for their more than 1200 registrants.

They're referring, of course, to the last-ditch effort to find a way to mark EPCOT Center's 25th anniversary last Oct. 1. After announcing major, marketing-driven pushes for Disneyland Paris, the Pirates of the Caribbean attraction at Disneyland, and even the Wide World of Sports Complex at Walt Disney World, Disney refused for many months to even acknowledge that the groundbreaking EPCOT Center was going to mark a milestone anniversary.

Whether or not EPCOT Central had anything to do with the ultimate decision to host a hastily arranged 25th anniversary "day," with a handful of limited merchandise (yay! Disney's allowing us to spend more money!), ultimately on Oct. 1, 2007, Disney caved and held a small ceremony. Small? Am I complaining? Well, considering what went into the 50th anniversary of Disneyland or the 15th anniversary (since when is 15 a milestone?) of Disneyland Paris, yes, I suppose I am.

You know me. Nothing's ever good enough for my little theme park.

Well, anyway, it happened, and it's over. And The Walt Disney Company, as usual, learned no lesson.

What they've done is the Disney equivalent of Marie Antoinette's famously apocyrphal "Let them eat cake" edict. They've completely ignored that their fans (well, technically, we're mostly their owners, albeit in a tiny way) felt they were being ignored. Feed 'em some Mickey-shaped cake and they'll be happy. They'll even consider it a "rare privelege" to work with you!

And instead of actively learning about them, trying to figure out where the fan base could be leveraged for greater success long-term, they've deigned to allow a few fans "access" to Disney's over-paid, under-informed management.

WDWCelebrations.com has all good intentions, of that I am sure. But this is what Disney is supposed to do, not a group of fans. It's Disney's role and responsibility to balance its future growth with its past success, to not just take money from the wallets of fans, but to perhaps give them a tiny bit in return. And by that, I don't mean another "merchandise event," where "commemmoration" means putting more on your MasterCard. Perhaps -- dare I say it? -- to court the fan base.

There's another company I know with a rabid fan base, a worldwide legion of fans who are active, vocal, supportive and critical of everything the company does. It's Lucasfilm, whose founder created the Star Wars movies. Sometimes the fans aren't too nice (Jar-Jar Binks, anyone?), sometimes they are a little weird, but always they are passionate. And Lucasfilm doesn't just pay them lip service -- it employs a full-time "Fan Relations Director" and once every few years holds an event called Star Wars Celebration.

I went to Celebration IV last year, and I saw tens of thousands of fans interacting with Star Wars and showcasing their appreciation for everything George Lucas does. And, more importantly, I saw Lucasfilm caring -- they had employees scattered throughout the event, people who weren't there just to figure out ways to open wallets (though there was a lot of business being done there), but who spent time talking to the fans, getting to know them. A friend of mine met Steve Sansweet, the fan relations director of Lucasfilm, and I think he's still trying to come down from his excitement, nearly a year later.

An event like this happens because the people in charge really care. It's not about pretending to be concerned about what fans think, but actively and aggressively getting them to engage -- and engaging with them.

I'm not sure that will ever happen at Disney. When I used to work at Disney in Burbank, I was once at a meeting in which a rather senior executive responded to a comment about Disney fans by saying, "They're freaks." The room laughed. I was embarrassed.

That's the way Disney views its most ardent fans. Trying to put a happy face on a sad occasion like Disney's lack of concern about EPCOT Center's 25th anniversary is like putting the proverbial lipstick on the proverbial pig. It's still a pig.

And Disney, despite the best intentions of the fans behind WDWCelebrations.com, still doesn't give a Ratatouille's behind about the fans who love it the most. Rather than be "officially embraced," I'd rather by genuinely embraced. Not ridiculed.

They've got $1.7 billion. They can afford it.

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By the way, I just want to make this perfectly clear: I really do love that the guys behind WDW Celebrations care so much and want to do such a great thing. Congratulations on starting your outfit, folks. But shame on Disney for farming out the "hard work" of loving and caring about their own theme parks.

Every Post Critical Or Trenchant?

In the two years since EPCOT Central opened its doors, finding critics of the site hasn't been difficult. The comments tend to be similar: There's too much whining, too much complaining, too much vitriol and not enough optimism here at EPCOT Central. The consensus of these folks (themselves critical, of course) is that now that Eisner and Pressler are gone, the criticism of The Walt Disney Company should stop, and that its financial success means its creativity has been restored.

I beg to differ.

Let me get this straight: EPCOT Central does not want EPCOT to become a museum. EPCOT absolutely must continue changing, growing and evolving.

Also this: There's nothing wrong with a little dissension. Frankly, among its managers, directors, vice presidents, senior vice presidents, executive vice presidents and senior executive vice presidents, Disney could use a bit more of it.

Criticism has its place. And there is no place about which it's easier to be critical than EPCOT. What started and grew as a grand experiment (that word is even in its name!) has become a place where creativity and imagination are on scant display. What began as an effort to change the theme-park paradigm has become a place that models itself after other, lesser, parks.
And that's why criticism is important.

The Seas With Nemo and Friends may be fine. Gran Fiesta over at Mexico may well be fully entertaining. Disney Princess dining at Akershus may be the height of wonderment for a 5-year-old girl.

But they're not EPCOT.

I've used this comparison before, but I'll trot it out again: As a student, even through my grad-school years, I received B's and C's where other students received A's and B's. It seemed patently unfair, but the teachers and professors always gave the same explanation. "This is very good work," they'd say. "And for another student, it would deserve an A. But I've seen that you can do better. So, comparing yourself only to you, you deserve a B." Or, worse, a C. Average. For me.

They were right. But still I persisted in coasting by, content with my B's and C's because I'd still get the occasional A, and as long as my GPA was above 3.3 or so, I was happy. It was enough.
Only now, years later, have I learned how I cheated myself.

EPCOT gets low marks from me (frankly, a few D-minuses are in there, though Disney's general quality still rescues these efforts from failing completely). That's because The Walt Disney Company generates too much revenue, is too flush with cash for capital investment, to warrant giving EPCOT stellar grades. Disney is capable of far too much to allow a mediocre product like EPCOT to continue struggling.

Granted, there are far more pressing issues for Disney theme-park management. The disasters of Disney's California Adventure, Hong Kong Disneyland and The Walt Disney Studios Paris rightfully need to be addressed, and fast.

The bigger concern is why EPCOT ever fell so far so fast and how its unhappy model can be prevented in the future.

But people didn't want "EPCOT Center" -- that's an excuse I hear often. They were bored by it. EPCOT was too different. Sorry, but history is too strewn with examples of popular art that wasn't accepted at the time, but grew into classics, landmarks and masterpieces for me to accept that excuse.

Disney is a company that needs to make money. It's a for-profit company. It needs to grow revenue and income. Those are also common explanations. To that, I counter that only by offering something truly revolutionary, truly out of the ordinary, can a company grow for the long term. Walt Disney knew that, that's why he was never content to continue doing what had made him successful. An artistically driven company like Disney has to take risks, and if that turns the stomach of its top managers, why did they get into this game in the first place.

Disney is filled these days with people who got into it for one key reason: to make money for themselves. That's not a bad motivator, I have no qualm with that. But they wanted to make money fast, to do it the easy way. With projects like ABC's flagging ratings, the theme-park design fiascoes and the death of traditional animation, they're learning the lesson the hard way. It's not about the quick buck, it's about the long haul. It's about doing what's right.

But we're left with the outcome of their decisions. We're left, at EPCOT, with a vision so diluted as to be hardly recognizable.

Even when things are going well, I'll be the last person to recommend taking the easy route. As a television anchor once told me, "We're not paid to do what we do when things are going well, we're paid to do what we do when things are going down the toilet."

Now's the time for Disney to stand up for EPCOT, to admit mistakes, to take a good hard look at whether singing ducks, funny fish and marginal cartoon characters belong in a park that was explicitly designed as the one place in Disney's kingdom that would not have those things. Now is the time to really consider EPCOT's vision -- and to decide whether current Disney management wants to follow through with it.

EPCOT is a commitment made by Disney artists, designers and executives long, long ago. Should today's managers be questioning what was handed to them, or cultivating it as best they can? If they don't like what they've got, there are plenty of other places they can go that won't saddle them with these difficult creative problems.

EPCOT is too good, too valuable to Disney (and the world), too grand a notion in my mind to not hold it to a higher standard. But higher standards, well, they suck. They mean you're not graded on the curve, you're graded according to what you've shown you are capable of achieving. And for what they're being paid, Disney's executives should be capable of achieving much, much more.

And criticism has its place. As grandiose as it sounds, criticism is the foundation upon which our country and everything about it was built. It is right to be critical, and it is equally right for any reader of this blog to disagree with my criticisms.

I'm just one voice -- but one voice who has seen, for many years, how Disney operates, has seen Disney move from being a genuinely exciting, inspiring place to an organization that is simply trying to churn a buck and will strip-mine every property it has in order to do that.
As a shareholder and as a fan, I don't want to see that happen.

EPCOT Center had a vision.

I believe it can have one again.

EPCOT, Anytime!

In yet another one of those astonishing revelations that show how far The Walt Disney Company has lost sight of its core consumer, in favor of increasing quarterly revenue by chasing tweeny-boppers, I’ve come to enjoy weekends filled with Disney magic.

Go to Amazon.com, search for Disney music, and here’s what you’ll find on the first results page: “Radio Disney Jams,” “A Disney Channel Holiday,” “Children’s Favorite Songs” (Vols. 1-4), “Radio Disney: Move It” and a host of other albums aimed squarely at kids and tweens. The "official" albums of WDW are equally bad, just re-hashes of the same music Disney has been peddling as its "park music" for years now, not actually digging deep into the extraordinary audio experience that parks like EPCOT truly are.

But here’s a tip, one you might already know about: Go to Live365 online radio, and your Disney possibilities increase to almost limitless heights. And you don’t have to tie yourself to your computer – if you’ve got TiVo, you can listen to Live365 on your TV, in full surround sound, if you’d like.

While doing my chores today, I’ve listened to a ride-through of Spaceship Earth; revisited the sorely missed Horizons Pavilion; heard the soundtracks of both Illuminations: Reflections of Earth and Illuminations 25; and even passed an hour while listening to nothing but the music loop played in some of the World Showcase pavilions and throughout Future World. I feel like I'm spending time in my favorite place. Yeah, my spouse thinks I'm crazy ... but it saves us a few thousand bucks on vacation costs!

Disney may not care about fans like me, who are fully grown adults with decent salaries and who happen to love Walt Disney World and EPCOT Center. In fact, it’s virtually impossible to find any official source for any of the tracks available on such fantastic “radio” stations as Sorcerer Radio, MouseHouse Radio, MouseWorld Radio, DIS radio, No Lines radio and other fan-run channels. On TiVo, you can even program them in your "favorites" list so you don't have to hunt around for them all the time. I love it!

I have no idea how these fan-run stations find and broadcast these esoteric tracks, ranging from the music that accompanies the Fountain of Nations to the complete audio of full attractions. But thanks to them, I can feel I’ve spent an entire day at EPCOT Center without leaving my home.

So, here’s a big thank you to those who devote their energies to these stations. You put me in a great mood every weekend!

To the executives at Disney, all I can say is, take a (literal) cue from these folks. Not all of your fans are tween dreams, some of us are just normal folks in our “adult years.” If you’re not filling our needs, thank goodness there’s someone out there who does care. You’re losing revenue, but they’re gaining fans.

Keep it up, Live 365 broadcasters!

Time Machine o' Fun!

Before you laugh and groan (and I can't deny I did both), go pull out your own photo album and find the pictures of someone you're awfully fond of ... as they looked 25 years ago.

You can hardly believe they'd present themselves that way, that they could ever have looked so goofy, so young, so awkward. And yet, that's exactly why you started loving them in the first place.

And in those 25-year-old memories, you remember how you felt then, when things were so fresh and new and life was filled with possibilities. You know change and growth was inevitable, but there's something so joyful in those old reminders, you know that somewhere in your friend, that old heart and spirit is still there.

Somewhere.

The Walt Disney Company is going to report its quarterly results soon. No doubt, the phrase "difficult comparisons" will be used. Look past the crappy music, the creepy narration and the simplicity of this promotional piece and focus on what else is there: A clear sense of purpose for EPCOT Center. Then look at the jumbled mess that lower-case Epcot is today.

There's a difficult comparison for you.


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(By the way, double-click on the video to go to Youtube, where you can find the second part of this 1983 video.)

A Cure for What Ails You

Let’s face it, The Walt Disney Company is ailing. Or, at the very least, languishing.

For every Hannah Montana, there’s a California Adventure-sized problem. With network ratings falling, the writer’s strike seriously impacting its broadcasting future, and a growing national economic problem threatening to impact theme-park attendance, Disney is not, as Eisner used to say, “firing on all cylinders.”

There are bright spots, absolutely. But increasingly, what Disney does well is manage its “creative content,” to “leverage” it across “multiple business units,” to run a company an MBA would be proud to call his own. But creating new content? Well, unless Disney goes outside to find and buy it, it just ain’t happening. The Hong Kong Disneyland fiasco is the latest sign of serious problems, even while Disney does nothing to squash rumors it will continue growing its theme park business in China.

No, folks, Disney’s not the kind of company that produces breakthrough entertainment anymore. You won’t see a Beauty and the Beast, a Snow White, an EPCOT or an Animal Kingdom coming out of this company in the near future.

Now, of course, Disney will never cop to performance issues, not while Bob Iger, Tom Staggs and Jay Rasulo are around; they’re too confident, too economically invested in the company to either admit to flaws or take a huge, daring risk. (I’d love to see them prove me wrong.) In the latest moves to generate some new sources of revenue, they’ve even taken to doing exactly the opposite of what was envisioned in Florida – selling off land and letting more and more outside companies come and build hotels there. Even while resorts like the Grand Floridian and the Boardwalk continue to garner awards and recognition as some of the best in the country (or world), Disney is showing interest in getting out of the resort business.

I’ve always figured, if you’re not in the game, why play?

So, what’s all of this got to do with EPCOT?

About a year and a half ago, I pondered whether EPCOT could actually be a great brand for Disney to develop. All the seeds are there for “EPCOT” to come to mean as much as “Disney” if it were managed, developed and shepherded properly. “EPCOT” could become a major force in our own future world.

As I’ve thought much more about what “Anonymous” recently said, and as I’ve assumed that he’s a Disney employee or executive, I’ve given this some more thought.

Disney needs a new brand. It has done all it can with ESPN – that brand is in “sustain” mode now, with moderate but hardly rollicking growth for the long haul. Likewise, I believe, with the “Disney” name itself. Intent on making Disney into a kids’ brand, instead of widening it and growing it to encompass much more than “fun stuff for kids,” TWDC’s management has painted itself into a corner. Kids and teens outgrow their tastes, and what is hot to today’s kids is rarely hot to tomorrow’s. There’s a certain amount of brand loyalty Disney can expect to retain, but trendy teeny-bopper fun stuff isn’t a long-term growth industry. Just ask the folks who manage(d) Magic Mountain, Debbie Gibson or the almost-unrecognizable, once-hot business called MTV.

What’s needed is a brand that is so defined it’s almost indefinable. Something that can apply to virtually any new creation. Disney used to know this, used to refuse to define “Disney” and let the name speak for itself, to mean quality, family suitability and innovation. It means very little of that anymore, and once lost, it’s extraordinarily difficult to win people back in the short term.

But think about what EPCOT means to those who know it, who understand that it does indeed have a definition beyond the acronym. EPCOT means innovation, it means forward thinking, it means technology, it means global awareness, it means a community mindset, it means experimentation, it means curiosity, it means optimism.

EPCOT can be a magazine. It can be a TV show (or, heck, a TV network). It can be a website. It can be a line of ethnic frozen foods. It can be a “green” household product. It can be garden supplies.

EPCOT can be a clothing label for fashions inspired by other cultures. It can be a line of educational products utilizing technology. It can be a publishing label. It can be a language school. It can be a radio station. It can be a movie label.

EPCOT can be everything “Disney” can’t – it can carry the mark of quality for products that don’t necessarily appeal to kids, but are of interest to a wide range of people.

EPCOT could be what Disney desperately needs: a strategy for the future.

Despite what some say, I don't think EPCOT's a "has-been" at all. Quite the contrary. I think it's quite a "could-be." With an incredibly strong visual icon in both its (original) logo and Spaceship Earth, and such "sub-brands" as Future World and World Showcase, EPCOT's potential is virtually untapped.

Disney is ailing. EPCOT’s good medicine.

**********

P.S. Today, the same day that Disney's latest Broadway effort, The Little Mermaid, received excoriating reviews, Disney said it had boosted Bob Iger's pay 7 percent to $27.7 million. A year. And what was your salary increase last year? (I'd be particularly interested in hearing an answer to that question from Disney employees!) Disney also announced that its annual shareholder's meeting will be held in that Disney-shareholder Mecca of Albuquerque, N.M. The rationale? That's the setting of High School Musical. Yes, of course. Makes perfect sense. It's fascinating to see how The Walt Disney Company continues to quite literally run away from its critics.

An Interesting Perspective

Not everyone checks the "comments" section on EPCOT Central, so it's worth pointing out a comment made in response to my post "Now THERE'S a Future!" Here's what the anonymous reader, who may very well work for The Walt Disney Company, said:

It's the crazy obsessive fanboy sites like this that convince the Disney number cruncher types that they can comfortably mock all of thier internet fan base. I've seen the discussions and it's pretty painful. When a creative type brings up a fan point of view (which frequently matches their own as well), the first sneering question is a variation on "Did you read that from some nutty fansite?" Do we hate those executives? Usually. Are they and their crappy attitude going anywhere? Dream on. And even the biggest Disney geek imagineer grows weary of sites that traffic in virtually nothing but constant condemnation fueled by nostalgia. I know you think you're presenting passionate, reasoned criticism, but let me clue you in: They wrote you off as a nutjob around the time you were ranting about consumer products utilitarian office building having an employee cafeteria. You are doing more harm than good here. If you are comfortable being part of the problem, keep doing what you are doing. If you want to be a real voice in the conversation, a spoon full of sugar and all that...

Now, I'm not about to get into a war here, but as I pointed out in my response to this reader, hey, this is my blog, and while I appreciate his/her perspective, I think it's a bit, um, whacked. Here is what I wrote in response:

At least you've kept up reading, Anonymous, and based on the tracking, it's clear that others at Disney are, too.

That says something.

Let 'em write me off as a nutjob. I wrote them off as a nutjob a while back, too, so I like to use this to air my thoughts. That's all. Others seem to enjoy it, too.Based on the feedback I've gotten personally, I'd like to suggest this: The MARKETING types at Disney have written this off as the work of a "nutjob," while the Imagineers (or at least a fair number of them, anyway) have been incredibly supportive. I don't have a lot of respect for the marketing types, either. They're the ones who got Disney into this mess. Seen the stock price lately? Sure, if you bought a couple of years back at, say, $13, you're happy as a clam. Bought it at $50 back in '00? Not so much.

Disney was a creative company that offered new ideas. Now it's a company that markets old ones. And builds new campuses for foundering divisions. Yeah, I have a problem with that -- remember, despite what Tom Staggs wants us to think, little guys like us with a couple thousand (or hundred -- or just a couple) shares have ownership in the company, too. We have a voice in this. Your marketing teams may laugh at us, but let 'em -- the gadflys are the ones who often force change.

Some companies respect their "fanboys," court their opinions, involve them in the process. Others mock them. Guess which companies have the best creative track record?

If you work at Disney, it's sad that you call your own employees "geeks." Everyone is a "geek" if they don't share your opinion. If you don't work at Disney, maybe you should. You'd be in good company.

This isn't a war of words. It's my blog, remember -- and I'm not selling shares [in it]. I want your post to stay up here. I want your voice heard. It's an important one to have.It makes us all remember what kind of a company Disney has become.

If Disney employees are "sneering" because of a viewpoint that matches those of a fan, it makes you wonder when the sneering's going to stop ... and the listening is going to start.

Until Disney reverts to private ownership, it's not just my desire to have a voice and give a tiny place on the Internet where everyone can let their own voices be heard ... it's my privilege, my right and, well, I guess my responsibility as a tiny minority owner of The Walt Disney Company.

Thank you, again, for reminding us of just the sort of mentality that exists at Disney. Interestingly, when I worked there back in the 1990s, your mentality was the one that was "sneered" at. Now it's the one that's held up as the model example. I'll let you decide whether Disney's creative downfall just HAPPENS to mirror that timeframe, or whether there's a correlation.

I just want to briefly elaborate on my response.

It genuinely concerns me that Anonymous represents the prevailing viewpoint at The Walt Disney Company, at least among the marketing types. You see, it's exactly the dissenting voice, the "nutjob," the idealist whose ideas have created the most change in the world. I'm not at all trying to compare myself to any great thinker (some would challenge any attempt I'd make to classify myself as a thinker at all!). But there are great thinkers at Disney. There are great creative minds. There are visionary idealists. After one too many meetings with people who share the viewpoint Anonymous has, I can't imagine they'd feel particularly upbeat.

About 20 years ago, screenwriters Arnold Schulman and David Seidler wrote a screenplay for Francis Ford Coppola and George Lucas called Tucker: A Man and His Dream. In it, Preston Tucker, played by Jeff Bridges, gives one of the greatest cinema speeches ever. It seems appropriate to quote it, particularly when reflecting on EPCOT.

"When I was a boy I read about Edison, Ford, the Wright brothers. They were my heroes. Rags to riches wasn't just the name of a book. It was what this country was all about.

"We invented the free enterprise system, where anybody, no matter who he was, where he came from, what class he belonged to, if he came up with a better idea for anything, there was no limit to how far he could go.

"But I grew up a generation too late, I guess. The way the system works now, the loner, the crackpot, the dreamer with some damn-fool idea that ends up revolutionizing the world, well, someone like that is squashed by big business before he knows what hit him. The new bureaucrats would rather kill a new idea than let it rock the boat.

"If Benjamin Franklin were alive today, he'd probably get arrested for flying a kite without a license.

"We're all puffed up with ourselves right now because we invented the A-bomb and we beat the daylights out of the Nazis and the Japanese … but if big business closes the door to the little guy--you, me--the little guy with new ideas, we've not only closed the door to progress and hard work, we've sabotaged everything we fought for. We might just as well let the Japanese and the Germans walk in here and tell us what to do. What's the difference? If new ideas can't be allowed to
flourish, then we've just exchanged one set of rulers for another. Right?"

I'd like to think Anonymous doesn't really speak for the cultural mindset at "Team Disney." All evidence, unfortunately, says he does.

Now THERE'S a Future!

While Disney's marketing whizzes wring their hands over how to wring more money out of your wallet by "synergizing" Epcot to within an inch of its life (Kim Possible here! Nemo there! Singing ducks over there! Princesses right here!), the rest of the world moves on.

Sometimes in astounding ways. Sometimes in ways that make you truly sorry for the EPCOT Center that should have been, the one that Walt Disney World could have developed.

I read this terrific article about self-driving cars today. To quote a bit of it: "And Tuesday at the Consumer Electronics Show in Las Vegas, GM Chief Executive Rick Wagoner will devote part of his speech to the driverless vehicles. 'This is not science fiction,' Larry Burns, GM's vice president for research and development, said in a recent interview." (It's no small irony that news of these cars come from GM, the sponsor of Test Track at EPCOT, formerly World of Motion.)

No, it's just a fascinating glimpse at a possible future. What's even more fascinating to me is that the article as it appears on AOL includes an up-to-the-minute reader poll. As of this writing (just before midnight on Jan. 7), 42 percent of poll-takers say they would buy a driverless car, while, strangely, 44 percent say they would feel "not at all" safe in such a vehicle. About 13,000 people took the poll asking if they'd buy; some 22,000 had taken the poll inquiring about safety.

A glimpse of a possible future. Instant poll results. The ability to express your views.

Doesn't that seem a lot like the way EPCOT Center used to be? Now, it's up to the Internet to bring us this kind of fascinating vision and interactive system, while EPCOT figures out how to incorporate Wall*E into its attractions.

That tantalizing Future World is out there. It's just not at EPCOT anymore.

It continues to make me sad.

Doesn't anyone at The Walt Disney Company see the amazing potential here?

Ever visit an old high-school friend, the one who was so good-looking and popular back in school, only to find that he's bored, unfulfilled and kind of lazy? It's depressing to see that sort of potential go to waste. And you're wrong not to point it out.

Come on, EPCOT, get off your lazy butt. That same world you found so exciting 25 years ago is still out there waiting for you to explore ... and you're still young.

Driverless cars! Who woulda thunk such a thing?!

Keep Moving Forward

Months after its release, I finally caught up with Meet the Robinsons during the holidays. Having read the excoriating reviews, I was expecting a train wreck of the first magnitude. I was instead pleasantly surprised to find ... well, perhaps a fender-bender of the 14th magnitude.

Is Meet the Robinsons a mess, or some sort of bizarre genius?

Whatever it is, it drove home what I've believed for a long time: We rely on a vision of the future, something that's sorely lacking in our society.

When I was a kid, "the future" meant gleaming white-and-silver buildings, people being efficiently shuttled back and forth on PeopleMover-type vehicles, flying cars, moving walkways, and crisply pressed, one-piece "uniforms" that would elminate the need for High Fashion. Most of those uniforms would have no pockets and a diagonal stripe down them. They were going to be cool.

The Future would be everything the Present was not: orderly, clean, happy and maybe, I suppose, just a tad totalitarian. But, hey, when you're 12 and dreaming of the future, you don't know what "totalitarian" means.

So, imagine my joy when EPCOT Center opened. This WAS the Future! My God, it was all there, from the bizarre architecture to the sleek Monorail trains to the perfectly clean (antiseptic?) sidewalks. EPCOT Center wasn't, of course, actually the future. But for a while, it was close enough.

That has all changed. Disney has, of course, decided EPCOT isn't really a showcase, a unique offering, a compilation of the best that global industry and the world's cultures have to offer. It's a Theme Park, and it had better start acting like one.

The basic problem with that idea is that it ignores what EPCOT actually is (which Disney has never been able to adequately define) in favor of what Disney management would like it to be (which they can write in a PowerPoint presentation). But, as the old adage kinda goes, you can put makeup on a pig, but you can't take it dancing.

By messing with this vision of the future so thoroughly, it's hard to scrape away the muck and figure out what EPCOT was supposed to be. Removing the wand was a great start, and the hope that those purple circus tents will soon come down is a step in the right direction. But then you're stuck with that industrial outcropping around the gleaming World of Motion building. You've still got those crazy rainbow colors on the Universe of Energy (were they always there?). You've got the "Imagination Instutite" goop all over Imagination, the talking seagulls (as cute as they are) outside of The Living Seas.

You've still got a Future that looks like a happy carnival.

Disney earns tens of billions of dollars in revenue each year. It lavishes untold millions of dollars on private planes, high-end lunches and lavish perks for its executives. So, why can't it get EPCOT right?

As Walt Disney famously said, and is quoted in Meet the Robinsons:

"Around here, however, we don’t look backwards for very long. We keep moving forward, opening up new doors and doing new things … and curiosity keeps leading us down new paths.

New.

Forward.

Curiosity.

How can Disney cite its own founder with those sentiments, but not follow them itself.

How did Disney mess up the future so badly?

And can anything be done to bring it back?

There was brilliance in that vision of the Future, as imperfectly conceived as it may have been. Although I absolutely can acknowledg that there were massive faults in EPCOT Center as it existed on opening day, its message was this: The "Great Big Beautiful Tomorrow" that Walt Disney promised over at The Magic Kingdom could actually come to pass, and each one of us who walked through the turnstiles of EPCOT Center could have a hand in making it happen.

The Future EPCOT Center promised was an amazing one. It showed us all we could accomplish. It told us that the crazy notions of the gleaming city of tomorrow weren't all that crazy. Our Future would be an exciting one -- and, just across the lake, we were reminded that we're all working for it together.

Visit Epcot today, and you're hard-pressed to figure out exactly why they call the place "Future World," except that it's vaguely futuristic in some incomplete way. Its attractions barely touch on the promise of what lies ahead, instead encouraging us simply to have fun in the here and now. Anyone going in looking for inspiration, excitement, promise, optimism comes away with ... well, having had some fun at a theme park.

I just find myself wondering ... what happened? When it comes to Epcot, when did Disney stop moving forward?

Eight for Oh-Eight

As we head out of 2007 and into 2008, EPCOT Center’s 25th anniversary is only a memory ... but not the feelings it stirred. Although I wasn’t there, I’ve seen photos and obtained some of the merchandise. For one fine day, Disney was willing to acknowledge that the fast-paced, frenetic, identity-challenged theme park that has become Epcot had a past. And a great one, at that.

But it’s not time for looking back, it’s time for looking ahead. In that spirit, here are eight suggestions for EPCOT in the New Year, four for Future World, four for World Showcase:

WORLD SHOWCASE

8) De-clutter
There are few places in the world (both capitalized and not) that are quite as lovely as World Showcase on a warm evening just before Illuminations. If, that is, you’re facing the water. Look behind you, and you’re likely to see cast members acting like carnival barkers, hawking needless, and needlessly expensive, doo-dads like glo-sticks, light-up necklaces and your basic sideshow junk. This is exactly the sort of experience that is not supposed to happen at a Disney theme park. Clean up those walkways and let your guests bask in the spirit and atmosphere of World Showcase at night.

7) Cut it Short
Let’s be honest: Martin Short’s appearance in the revised O Canada film is pathetically unfunny and out of place. Even assuming 40 percent of the audience knows who the actor is, having Short “host” this experience is completely out of keeping with the concept of the pavilion’s feature attraction. It’s OK to admit mistakes. In fact, it’s a good thing. A couple of weeks in the cutting room would do wonders to this movie, updating the CircleVision/travelogue experience, while eliminating the superfluous appearances of a “Canadian celebrity.” Many people have said they “don’t mind” the new O Canada, but I’ve yet to hear from anyone who loves it. Canada deserves better than this, and has much spectacle to offer ... as anyone who saw the previous version can tell you.

6) Show us OUR world
No one likes looking at pictures of themselves 25 years ago; fewer still like seeing pictures of other people as they were “back then.” So why do Impressions de France and the wonderful (and sadly neglected) film in the Norway pavilion look so dated? I’d like to believe Norwegians have advanced beyond monochrome computer display terminals and big 1980s hair. Or that the Monaco Grand Prix has developed a little beyond what we see in Impressions. These are lovely movies, but they don’t showcase the world as we know it today. If you can spend millions to develop a Kim Possible interactive “adventure,” can’t you spend a little bit of money to properly present the home countries of tens of millions of people?

5) Put princesses in proper perspective
I know, I know, I know ... I don’t have kids, so I can’t possibly know what it is like to have a screaming six-year-old girl tell me over and over how bored she is. More than anything, that makes me wonder why a six-year-old who clearly isn’t ready to appreciate a place like EPCOT is doing there in the first place. OK, there, I’ve said it. But more than that, what about the rest of us? What about those millions of visitors a year who come without kids, who are actually excited by the prospect of visiting different pavilions in EPCOT and, particularly, dining on meals they couldn’t get at home? To put a fine point on it: Please bring back the former incarnation of Akershus. If you absolutely need to do a princess meal there, do it once a day, but there are many people who don’t really like what Akershus has become and who miss their old favorite restaurant. With its authentic Norwegian food (which really is quite a unique cuisine), Akershus offered something few people can ever find outside of Norway itself. It was a grand place. Now (even for some parents I know – admit it, you’re out there) it has become virtually insufferable. There are plenty of other princess opportunities; you can’t say that about Norwegian restaurants.

FUTURE WORLD

4) Get a Life
The Walt Disney Company has revenues on the order of $30 billion a year. It’s worth $65 billion. It’s impossible for me to believe, even with a basic understanding of the economics of the situation, that The Walt Disney Company cannot re-open and maintain the Wonders of Life pavilion at EPCOT without a sponsor. Around the world, people have never been as curious, concerned and intrigued about their bodies, and the science that is helping to improve and maintain them, than they are now. The Wonders of Life needed a massive overhaul, there’s no doubt about it. But closure wasn’t quite the overhaul anyone had in mind. Now, there’s a “Closed for Business” sign in a window at EPCOT, and it is unattractive, embarrassing and completely unnecessary. With the imagination and money Disney has at its disposal, something can surely be done here in 2008.

3) Innovent
Is that even a verb? If “Innoventions” is a noun, then I guess it is. But something needs to be done about Innoventions. Maybe it should be turned back into CommuniCore? Maybe it needs to be gutted? Maybe Disney needs to assign a staff of two or three people to focus only, and completely, on Innoventions, and the rest of the massive structures that form “Innoventions plaza”? From Day 1, these have been admittedly overlooked. But architecturally, they serve an important purpose, of separating the two sides of Future World, of not overwhelming visitors by giving them vistas of massive pavilions, of visually linking the two halves of EPCOT with a straight shot down to the American Adventure pavilion. They work as architecture ... it’s what’s inside of them that’s the problem. I’ve probably got more “new” technology in my home than is represented in much of Innoventions. It needs some help. Badly. (Oh, and please don’t just throw Pixar or Disney cartoon characters into it!)

2) De-clutter
Yeah, you need to do it here, too. First up, those Ballzac stations. Please, please get rid of them. Like those glow-y things over at World Showcase, no one needs them, they add nothing to the EPCOT experience and, in this particular case, they’re borderline dangerous. Ever had to duck to avoid a mis-thrown or un-caught Ballzac? Ugh. Second, and more to the point, make good on the rumor to tear down the purple circus-tent poles that prevent a good view of Spaceship Earth from anywhere in Innoventions Plaza. They’re unsightly, they don’t actually create much shade (or cool things down) and they ruin a marvelous landmark. Let’s hope those rumors are true!

1) Energize
The Universe of Energy pavilion is in desperate need of work. What we’re talking about, essentially, are a few really creative, exciting, vibrant films (and maybe the return of the Radok blocks, while you’re at it?). I don’t know a lot about theme-park production, but I know a bit about the entertainment industry, and I’d find it hard to believe that between Walt Disney Animation Studios, Pixar and Imagineering, you couldn’t create something incredible for the Universe of Energy. I like Ellen. Really. I watch her show whenever I can. But she never really fit into this pavilion, and now that she’s still paired with Bill Nye and a 15-year-old version of Jeopardy!, it all feels so terribly outdated. Perhaps no single topic is as valid, as necessary, as exciting and as potentially fascinating as the future of our world’s energy needs. There’s a minor miracle of an attraction waiting to happen here, one that could very well define a new style of Disney theme-park attraction – combining the ride vehicle, Audio-Animatronics, 3-D, computer-generated imagery, live performers, music, interactivity and education. It could be mind-blowing.

Hey, it could happen!

Whatever the case, here’s hoping that the positive steps that have been taken at EPCOT will continue into the future ... and that this becomes the year Disney understands that EPCOT is a brand unto itself, it has a meaning, it is a place that matters. It doesn’t need a lot of cartoon overlays and meaningless thrill rides. EPCOT is something special.

Happy New Year, EPCOT ... and EPCOT lovers!

The Future, the Past and Constant Change

I'm back. I'll be honest about the fact that I've not been keeping up with the blog, and I'm sorry for those of you who come back here regularly looking for a new post. In part, it's because after the deconstruction of the wand and the passing of the 25th anniversary of EPCOT, there hasn't been a whole lot to talk about. But mostly, it's because, not living in Florida, I haven't been to EPCOT recently.

Yes, I've seen the pictures of those truly horrid, unnecessary and ugly "security" gates at EPCOT. (Honestly, while I realize WDW is an attractive target, in the past six years, has anything truly warranted this kind of person-to-person, put-borders-around-the-park security, or is this just our national paranoia and Disney's "risk management" group working hand in hand? Those gates just remind us that Disney wants to control our every move, and no longer in subtle, elegantly designed ways.

I'm as eager for you to experience the newly refurbished Spaceship Earth, and while I try to be optimistic, I can't help but already be disappointed by the Orlando Sentinel's report that the communication theme has been dropped for a generic "inspiration and innovation" concept. This means that, almost completely, the original design for EPCOT has been wiped away -- no longer do each of the pavilions represent a key aspect of human nature or our environment that we must learn and study to become responsible "passengers" on Spaceship Earth; now, all EPCOT is saying is we need to be inspired and have a lot of fun. That subtle distinction will be lost on nearly everyone who visits. But for those of us who grew up studying and admiring EPCOT Center, mesmerized by what it tried to do and how it worked, there's a massive disappointment that Imagineers and John Lasseter didn't try harder to make Spaceship Earth the first return to EPCOT's ideals, rather than the latest departure.

Many of you will once again send me notes and post comments that I'm simply a thick-skulled purist who doesn't want anything to change. That actually couldn't be further from the truth. Like many, I'm both fascinated by and skeptical of change. I want the world, my own life, and even theme parks to always be changing, growing and improving. But the latter word is the key. If change is simply made for its own sake, or to give up on a formidable challenge, then it's not laudable. It's just change. EPCOT is continuing, it appears, to just change.

So, who cares?

Well, click on the YouTube video at the top of this post. You may have seen it recently; I just discovered it, and it reminded me today of why yesterday's vision of the future was so compelling, so optimistic ... and so exciting.

This is the sort of opportunity that Walt Disney imagined "The Future" held for all of us. I was entranced by this video clip, which is absolutely genuine, produced by Philco and starring a young Wink Martindale. It shares the same clear-cut view of "The Future" that infused everything EPCOT did from 1982 to about 1997. Our lives were going to be better, we should rest assured that the world would be a fantastic place ... and it would just keep on getting more and more incredible, opening up to us new opportunities, new possibilties.

The most astounding part is how much this video got right. Likewise, EPCOT got a tremendous amount right, too, from fiber optics to touch screens; from globalization to our need to search for alternate energy sources to the potential of The Living Seas. It showed us that we needed to understand our bodies and minds, and even offered us glimpses of what new technology would do for us. Just like this educational film, EPCOT didn't proceed from a place of skepticism (as I acknowledge I do more and more as I age) or commercialism. Yes, of course, this film was produced by a corporation, I realize that. But it promised us wonderful things ... and it was right.

We believed we could do anything in the 1960s and 1970s. We believed there truly were possibilities, that technology, science and exploration would continue fueling our progress. And look what happened.

It makes me sad to contemplate where we'll be in 41 more years.

And it makes me sad to see EPCOT's grand vision and design fading away even further. I sure wish EPCOT Center could make a return. To quote That's Entertainment ...

Boy, do we need it now.

On Your Birthday ...

Dear EPCOT Center,

You're almost 25.

You're ready to move comfortably into adulthood, even if some of your reckless teen-aged years still lingers rather awkwardly.

Maybe you don't remember, but you were so pleased with yourself when you were born, so excited about the future, that you made us proud -- and excited for you.

Let me be the first to say, we're still both.

Back then, you were the harbinger of the 21st century, and those of us who knew you when you were brand new couldn't help but believe in your proposition that when the 19s gave way to the 20s, we'd be living in a world of promise fulfilled, of untapped knowledge explored, of far-flung cultures brought together.

Of course you had to grow up. Despite the plot of Peter Pan, everyone does.

You're a bit unfocused now. That's not unusual at 25. You're not quite sure why you were made or what you're meant to be. That's got your parents pretty worried. Maybe they just need to relax a little bit. It's OK. They don't need to force you to be what they are. Whlietheir efforts to mold you to look just like them may be natural, they're also uncomfortable and counter-productive. They need to trust.

The funny thing is, do you remember all of those optimstic things you used to say about what you'd be when you grew up? Do you remember how you used to say the world was going to be an amazing place? That those of us who played with you when you were young were all going to lead lives of excitement and discovery?

I know, I know -- once you became a teen-ager, you turned your back on those sentiments. You wanted things that were flashy and fun. You wanted to impress everyone with how slick you were.

But, you know what? You were right.

You promised that the 21st century would "begin" back when you came into the world, and the odd thing is just how right you were. Out of the mouths of babes.

When you were born, you brought with you things like fiber-optic communications, touch-screen computers, remote-guided vehicles, deep-sea exploration, hydroponic farming, aerodynamic cars, alternate forms of energy, and a vision of a world in which communication was instantaneous and free. You envisioned that we would know more about each other than we ever had, that many borders would be opened between nations -- both literally and figuratively.

Now that we're actually here in the 21st century, it's rather astonishing to reflect on what a precocious, inquisitive and, well, correct little youngster you were.

You dazzled us with ideas that seemed far-fetched. I mean, back when you were just a wee thing, we used to call "Uncle Ernie" across the country and talk for exactly three minutes and it was still expensive. We'd even have to wait until after 9 p.m. so we could afford it, and while we talked we'd twirl the telephone cord in our fingers. Now, we can call Uncle Ernie all we want, any time of day, even if we're sitting by the ocean.

We're exploring, truly exploring, many of the things you claimed we would. Various trade and unification agreements have quite literally opened borders. No matter what time of day, where we are or what we need to know, we can find it -- never venturing further than our home computers (which are getting, every day, astuter and astuter).

I could go on, but you know and I know what I'm trying to say:

You had it right all along.

OK, so it's true that we dressed you in clothing that now seems a little outdated, and over the years you've wanted cooler duds. Frankly, you insisted, despite our protestations. Well, you've still got a lot of the same stuff, and the not-so-surprising thing is, it's coming back into vogue. Stick around long enough, everything comes back into fashion. Even in the 21st century.

As you turn 25, then, I just ask one thing of you -- and it's fair of you to ask me for the same: Be patient.

You'll grow and change. You have to; no that's not a directive, it's an inevitability.

Pretty soon, you'll realize that all of those friends you've been trying to impress have something in common. They're all trying to be just like each other.

Whether you like it or not, you were born to be different. Your very birthright is being astonishingly, wonderfully unique.

Frankly, that sucks. No 25 year old likes to hear that, because you're still very aware that it's much more comfortable to be like everyone else. Be patient. You're going to figure out it. We all do.

When you were young, you showed remarkable (awesome, to be blunt) intelligence and capability. You loved being different. Anymore, you don't so much. You will. So, we can wait for a while longer while you figure it out.

Make no mistake -- a lot of the things you've done to change yourself have been extraordinary and wonderful. You've seen things you didn't like, and you've fixed them, and that takes courage, confidence and vision. Now it's your chance to keep moving along that path.

You don't need celebrity friends to be well-liked.

You don't need the trendiest fashions to look good.

You don't need to rush around and be fast in order to accomplish your goals.

And even if you change your name, which you've tried to do a couple of times (a bit half-heartedly, I must observe), you'll still be you.

It's your uniqueness we celebrate today. It's your potential. And it's the vision you showed early on ... and which we know you'll show again. We look forward to seeing what you become.

And no matter what suggestions, what criticism, what comments we direct to you, know this: We love you as much today as we did back on Oct. 1, 1982.

Happy birthday.

Illuminations: Reflections of Success

A sultry Florida evening. Though it's summer, this far south the sun is down by 8:30 in the evening. There's just the slightest hint of a breeze in the air.

The day has been exhausting. After this many hours being bombarded by the sights and sounds of theme-park attractions, it all seems a bit overwhelming. Frankly, you're tired. The thought of standing around watching fireworks might not seem appealing.

But there's something unusually serene about the setting you're in. Yes, it's a theme park, but unlike The Magic Kingdom or Disney-MGM Studios, you realize that you're a bit more peaceful than you might normally imagine. The lighting is dim. Music is playing all around you, but it's not blasting; indeed, it's rather appealing -- "world" music that is just upbeat enough to keep you peppy but not cloying or grating in any way.

The promenade whose edge you're standing on is remarkably wide. There's space here. Space and trees and moist air and water in front of you; almost like a beach party, giant torches provide much of the lighting, their flames flickering in the breeze.

This is World Showcase at night, and it's a place unlike any other. What you're about to see, if you've never seen it before, is hard to describe. There are fireworks, there is music, there's even a bit of a water show, but that doesn't begin to do it justice.

It's Illuminations: Reflections of Earth, and it's one of those things that EPCOT Ce-- er, I mean, Epcot -- and Disney do inarguably, undeniably right.

It's beyond peer and beyond criticism. It's downright perfect. So perfect, in fact, that the rest of Epcot, and the rest of the Disney theme parks for that matter, could learn a lot from it.

Immediately upon its premiere on Oct. 1, 1999, when it was called Illuminations 2000: Reflections of Earth (was anything not given the "2000" appendage in the waning days of the 20th century?), Illuminations ascended to a lofty position as one of the all-time great Disney attractions. So lofty, in fact, I'd argue Disney has a problem -- any changes to this show will be greeted with despair by fans, any wholesale rethinking or replacement risks winding up with something that's nowhere near as good as this.

Key to the success of Illuminations, I think, is one central, undeniable fact: Its very "Disney-ness" comes from the fact that there's nothing "Disney" about it at all. Illuminations is so satisfying because it espouses core Disney values without a single Mickey, Pluto or Stitch in sight.

Illuminations is upbeat. It has a story, though just barely. No, it's not "the" story that true fans realize is there, the "Chaos," "Order," "Celebration" flow. Like many pieces of performed, interpretive art (think ballet), the story lies beneath the surface -- you pick it up emotionally, not intellectually. It's felt, not told.

The story of Illuminations is one of being glad to be in the world, of realizing how much there is to discover, of a dawning awareness that we are all inextricably tied to one another, that there's a permanence to life, even if our individual lives are painfully transitory. Illuminations tells us that our world is beautiful, and through exploring our world through travel, art or music, we illuminate our lives and ourselves.

Those are very Disney qualities. They're upbeat, optimistic and maybe, on the surface, a bit pedantic. They're shamefully unsophisticated, but undeniably true.

The happy faces I see when Illuminations ends, the applause that follows that last burst of fireworks, that spontaneous exclamations of "That was beautiful" are the sorts of responses so much of what Disney creates try for and rarely achieve, perhaps because they unintentionally impose a consumerist filter on the message.

Illuminations is decidedly non-consumerist. There are few Illuminations trinkets and doo-dads. Until the very last moments, after the main show is over, there's no mention of a corporate sponsor, no reminder that you are in a "Disney" environment.

Illuminations takes it for granted that you know full well where you are, and proceeds from the assumption that you want to be entertained, you want to be astonished, you want to be moved. It doesn't try for humor, because its designers knew that a smile genuinely earned is better than one that's forced or coaxed.

And I'll say it again -- it succeeds despite (or, more likely, because of) a complete and utter lack of anything overtly Disney, save for a few fleeting seconds of Walt Disney's image in one of its visual montages. Despite music that becomes bombastic, overwhelming images and the thunderous fireworks, Illluminations is paradoxically subtle.

It conveys all of the values, all of the spirit, all of the inspiration and emotion of EPCOT's core themes (an ideal future, a peaceful world, a collaborative people) by combining music, images and a visceral experience with flair, creativity and, dare I say it, artistry.

Other Disney nighttime shows exist now and have existed before. Other theme parks offer nighttime spectacles to compete with Illuminations.

But back in 1999, Disney created something exquisite -- an experience that got it absolutely, positively, pitch-perfect right.

Lucky for us, it still does. Every single night. At EPCOT Center.

Things We Lost in the Lower-Casing

I’m going to admit something that may seem heresy to some and will likely seem to most to be completely out of synch with everything I’ve ever written about EPCOT Center:

I never really liked the World of Motion.

I wasn’t a huge fan of Journey Into Imagination, either.

Now, look, I know that both of these attractions have huge fan bases, and that many lament their passing. Strangely, so do I. A lot. Ironic, since I wasn't terribly enamored of them in the first place.

True, I didn’t find them to be completely realized attractions that represented the best creative display Disney could offer. However ... they did something that Disney seems to have given up on doing, something that represents the spirit that "EPCOT Center" lost when it became "Epcot."

They offered elaborate, immersive experiences filled with detail and creative inspiration. (Note that I didn’t say “creative success,” because I’d rather something try to be great and fail than simply aim to be mediocre and succeed.)

World of Motion and the original Journey Into Imagination – the entire original Imagination pavilion, for that matter – sought to deliver experiences that, up until that time, were quintessentially Disney. These were the sort of meticulously designed, remarkably engineered attractions that represented the pinnacle of Disney's capabilities: They took the basic ideas behind the storytelling, which Disney had perfected in moviemaking, and re-imagined them in three dimensions. Like Disney cartoons, they might not have told complete, linear stories, but they did impart a definite sense of plot and purpose.

Their forebears, of course, were the landmark Haunted Mansion and Pirates of the Caribbean: attractions that were so groundbreaking, so revolutionary, that despite being 40 years old they still draw round-the-clock crowds and delighted response from guests. Like classic movies and books, they are quite literally timeless – not rooted to a particular place or time (except in the most oblique sense), not created to be fashionable or “relevant,” just incredible examples of a sort of artistic perfection.

The designers of EPCOT Center recognized that these attractions weren’t simply great experiences –- they were so wonderfully unlike anything that had ever been offered by a theme park before, they had quickly come to define the Disney difference; indeed, they became synonymous with "Disney" in the eyes of many theme-park guests. This is what it meant to be Disney.

It made perfect sense, then, that the foundation for EPCOT Center’s experiences would be rides and attractions that used the same medium: three-dimensional “living” sets and “actors” who told a compelling story as guests rode past and through the scenes.

Disney had no trademark on this concept – which, at its most rudimentary level, had been used in carnival funhouses for decades. Anyone could have created similar attractions, and for a while, some tried. When I lived in Texas in the early 1990s, Six Flags still offered an attraction called Spelunker’s Cave, populated with strange little characters. Knott’s Berry Farm’s Calico Mine Train and Log Ride followed similar models, all recognizing the brilliance of what Disney had created.

But Disney did it best, and after a while, other theme park operators realized that they couldn’t compete with perfection. Cheap thrill rides and basic midway offerings (usually dolled up with a haphazard “theme,” of course) became the norm.

Disney stood alone. EPCOT Center’s Universe of Energy became arguably the most elaborate ride-through attraction ever conceived. At least, that is, until Horizons came along, offering an experience so memorable and perfect in tone and execution that it maintains a loyal following even though every bit of it was demolished in 1999.

Spaceship Earth uses Audio-Animatronic figures, narration, music and smell (what a brilliant addition!) to impart an incredibly complex message that leaves a few scratching their heads and other so moved that they set a career path after riding.

Together with the (in my mind) less-successful World of Motion and Journey Into Imagination, these grand, intricate attractions formed the heart of Future World – itself, arguably, the heart of EPCOT Center.

And then came the lower-casing, brought about by upper-case MBAs.

These attractions were expensive to build and maintain. Focus groups and exit surveys showed that people wanted more thrills. And, so, a great deal of EPCOT Center’s heart was ripped out and, with it, an enormous amount of the creative edge and leadership that Disney had spent so many decades developing.

I may not have loved World of Motion, but I know this: I miss it. Because what replaced it, as technologically advanced as it is, feels, well, less. It doesn’t feel like something no other theme park could ever offer. Is it an enjoyable ride? You bet. Is it so uniquely, utterly, compellingly Disney that I could never imagine seeing anything like it anywhere else? Nope.

Remember the awesome spectacle (not the stentorian narration!) of the images in the original Universe of Energy movies? True, these weren’t Audio-Animatronics, but they still represented the best of what Disney could create. Now we’ve got a talk-show host, a retired actress, a forgotten kids’-show actor and a historically accurate representation of Alex Trebek and Jeopardy! as they existed 15 years ago. What was fresh for a moment is stale in a way that the elaborate ride-throughs never became.

Horizons allowed us to savor what we were seeing, to ride it over and over and find something new each time, to appreciate the craftsmanship and creativity that went into its design and creation – as well as simply to be entertained. Apart from getting people horribly sick, the ride that replaced it is, in the end, nothing more than a tricked-out centrifuge with a small video monitor in front of you. Have I come to enjoy Mission: Space? Actually, yes – but it doesn’t make me yearn any less for what it replaced.

That’s because its predecessor wasn’t simply a great ride – it was the very definition of Disney, the difference that set EPCOT Center apart from any theme park anywhere in the world. No one could even attempt such exquisite, fanciful, elaborate attractions. No one dared try. Disney was the master of this craft, and EPCOT Center was the perfect place for the evolution of these experiences.

When EPCOT Center became just Epcot, all that changed. I enjoy what’s there, I really do – but I long for a time when Disney tried harder and achieved more.

By the same token, I love staying in chain hotels – just last night, I was at a Marriott. It was comfortable, it was convenient, it offered me everything I could possibly need.

A few weeks earlier, I stayed at a Ritz-Carlton. It was luxurious and it offered more than I could possibly want.

The Disney that created EPCOT Center and its remarkable, multi-faceted attractions and pavilions was like the Ritz-Carlton. It gave me experiences I never knew I craved, it offered me opportunities to explore and be amazed that I never imagined I’d have.

Like those Marriott hotels, Epcot is fully serviceable. There’s little actually wrong with it, I'll admit that. Not technically.

But when you go to a hotel expecting the Ritz but you find a Marriott, well, you’re disappointed.

You remember that the uninspired-but-pleasant building you're in once offered so much more. You wander around, looking in nooks and crannies, wondering where all that fine detail and effort have gone and why they didn't want to maintain it in the first place.

The Marriott's fine. The Ritz was so much nicer.

What's in a Name?

Epcot.

It looks so tiny, doesn't it?

Next to the evocative moniker of "The Magic Kingdom," the pared-down-but-still-wordy "Disney's Hollywood Studios" or the routine-yet-still-interesting "Disney's Animal Kingdom."

Well, thank goodness for tiny miracles, like the fact that they have resisted (thus far) the marketing-driven desire to change the name to "Disney's Epcot." That in itself is something for which we can be a little grateful.

Still ... it's just Epcot. Five letters that no longer even mean anything -- just a nonsense word that is neither descriptive nor explanatory. It's been stripped of any context whatsoever.

The good news, of course, is that even when the full name was EPCOT Center, most everyone simply called it "EPCOT." Then again, I know no one who uses the full "Disney's Animal Kingdom" name, or ever referred to the Studios as anything but "the Studios" or, more likely, "MGM." (Yes, Disney marketers -- we tend to drop the "Disney" moniker ... we know where we are already, and who's taken those four thousand bucks from our bank account!)

Back to little Epcot.

There are many of us who've argued for a return to the name EPCOT Center -- and, based on recent Internet buzz, that may be happening soon, thanks to Jim MacPhee.

For those Disney folks who shake their head and wonder what the big deal is ... it matters. A lot.

"Epcot" doesn't just fail to be evocative or meaningful, isn't just lacking in context or offering any clues about its theme at all (and, remember, these are supposed to be "theme" parks) -- it isn't just desultory. It's disparaging to every concept that resulted in the park's creation.

It doesn't take very much effort at all to watch the original film Walt Disney created about the Florida parks. I'd suggest Disney folks take the time to bother to watch it. Granted, nowhere does Walt refer to the project overall as "EPCOT" -- it's clearly "Disney World."

But when Walt Disney died, the decision was made to move ahead with EPCOT, which was to be the "Experimental Prototype Community of Tomorrow." There was no way, without his guidance, that the "city" concept could actually be created. But what resulted was no less ambitious, grand and revolutionary.

The name EPCOT Center was chosen because, the history goes, this was to be the literal and figurative center of the entire EPCOT project. With its various developments, its infrastructure, its hotels, its parks, its recreation, its operations all enormous in scale and impressive in scope, Disney realized that, though there would never be residents here, Walt Disney World itself really was "EPCOT" come to life. Not quite in the same way, but still ... it was a living, breathing community. The parks were part of it ... and EPCOT the theme park was at the center.

Thus, EPCOT Center.

That's the literal context as I've come to understand it. On a less literal level, those of us who grew up with the EPCOT Center name came to think of the "Center" extension as a wonderful addition -- it added a sense of place and purpose. It wasn't just "EPCOT" the theme park, it was "EPCOT Center" -- the center of all of the grand, glorious ideas of The Walt Disney Company and American (now global) industry. Calling it EPCOT Center added a rich conception of the place as a place. It was a destination.

"EPCOT Center" means so much more than "Epcot."

If indeed the executives at Disney are contemplating a return to the park's original name, it won't be as much an admission that simply "Epcot" (or, worse, "Epcot '94," "Epcot '95," etc.) didn't work as an acknowledgment of something that perhaps Disney is finally learning in small increments:

If it ain't broke, don't fix it.

In its execution and in its determination to always be changing, adding, refining and growing, EPCOT Center might not have quite been perfect, but its very dedication and explanation of itself granted it the right to be always improving and exploring itself.

EPCOT Center was glorious in a way lower-case Epcot has never quite managed.

I hope fervently for the return of that strangely antiseptic yet somehow exciting name. EPCOT Center. Funny how much one word matters, isn't it?

*******

A quick P.S.: Although Disney's Tom Staggs now seems hellbent on selling off the "extra" land around Walt Disney World (land that was so hard won 40 years ago), until recently EPCOT Center was also the literal center of the Walt Disney World Resort (a name that also seems to be falling out of fashion in favor of "Disney World"). On the south side of the Fountain of Nations is an original EPCOT Center symbol laid into the ground. Stand in the middle of this symbol and you were once in EPCOT Center at the center of the entire complex.

Almost Right and Getting Closer

I've been gone for a while. Months, which in Internet time might as well be eons.

Is anyone still with me?

Regardless, there have obviously been some major developments at Epcot lately, ones worth noting.

While it's still lower-case Epcot, there's almost a temptation to rename it again, at least temporarily, recalling terminology used decades ago -- for a while, at least, it's fitting to view Epcot as "Progressland."

Look, I'm not a marketing "whiz" at Disney. But, in one of those noteworthy changes, a key "genius" has departed: Michael Mendenhall is gone, and if you're one of those who follow the inner workings and machinations of the strange place called The Walt Disney Company, you know what a major leap forward this may be. True, no one has been named to replace him, but there's every indication that John Lasseter helped force this change to happen, and it's a fantastic thing. All good wishes to Mr. Mendenhall, but his "profits-over-everything" mentality and lack of any true creative vision has damaged Disney's theme parks immensely, most of all Epcot.

In Mendenhall's view, theme parks were simply another asset to be monetized and commoditized. (A view, unfortunately, shared by Jay Rasulo; it will be fascinating to see if he lasts a lot longer under Lasseter's leadership.) They lost their position as the public face of Disney, as the arbiter of Disney's creative vision and the showcase for all the wild imaginings and possibilities that could be dreamed up by Disney's artists and engineers.

If EPCOT Center never became what "Walt wanted," it became something close to what Walt might have loved. In its slow transition to "just Epcot," this extraordinary place of hope, vision and community became nothing more than another place to build mundane attractions, then populate them with the latest Disney cartoon creations. EPCOT Center lost more than some capitalization and a word, it lost its soul and became an MBA-bearing marketer's dream. Its size and scope meant more retail space for the latest all-alike Disney products, its complex attractions became nothing more than acreage on which new, cheaper rides and shows could be built, further improving OI and revenue.

Epcot, more than any other park, became a mish-mash of Disney billboards and marketing messages -- never more garishly depicted than the quest for a "better" icon, in the form of a Disney-ized, bedazzled Spaceship Earth.

Now, that era is over.

There's no better symbol of that than the simple, unadorned, majestic, specatcularly silver sphere that once again is the simple beacon that lets visitors know they've arrived at a most unusual and specatcular place.

There's still visual clutter beneath it, still eye pollution that prevents it from standing quite as tall, quite as proudly, quite as gracefully as it could and should, but I am not about to bemoan progress -- well, not too loudly. This one-two punch of the "simple" Spaceship and the "loss" of Mendenhall couldn't be better hallmarks for a new age of growth, exploration and discovery ... both for Epcot itself and for Disney guests.

There's still a huge amount of work to be done. But this is true progress.

For now, I won't address the painfully unfunny new Canada movie, the ghost town of the Wonders of Life, the duck-filled Rio del Tiempo, the kid-filled Akershus.

I'll just say thank you.

I don't know who I'm saying it to, exactly. If it's John Lasseter, then you've shown that you get it -- clearly and pointedly. If it's an operating executive who thought the wand was just too expensive to maintain, then you've paid a backhanded compliment to the namesake of your company. If it's someone else, then, simply ... thank you.

What a change. What a difference. What a beautiful sight.

There's a long road ahead, and while the "Center" may still be missing, EPCOT just got a little of that capitalization back ... at least in principle.

This relatively simple act has made a lot of passionate people very happy ... and no doubt made a lot of guests say, "Now that is cool."

Yes, folks ... EPCOT is cool.

Welcome back, E-P-C-O-T. We missed you.

*****

P.S. For those of you who have communicated with me directly in the past, please note that my e-mail address is slightly different. You'll find it in my profile or by looking up my information; please change your e-mail address books accordingly if you'd like to keep in touch. I do read every single e-mail, I can't always respond as quickly as I'd like, unfortunately!