Author Archives: R.L. Terry

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About R.L. Terry

Ryan “Professor Horror” Terry teaches film studies and screenwriting at the University of Tampa. He holds graduate and undergraduate degrees in film and media studies. He has regularly published film reviews since 2014 and has been a featured speaker at Tampa Bay Comic Con, Spooky Empire, and the historic Tampa Theatre. His work has appeared in both political and entertainment magazines.

“On Cinema and Theme Parks” (part 8)

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My Book

For the movie studio (or media conglomerate), the theme park provides a seemingly limitless opportunity to cross-promote imagery and narratives from the screen into the park. This accomplishes the desire to advertise new movies and television programs and to sell merchandise pertaining to the various movies and themes that the park showcases. Either way, this two-fold process generates income to sustain the endeavors of the company (Davis, 1996)

Unlike SeaWorld Parks and Entertainment and Cedar Fair (parent company to Cedar Point), Disney and Universal use their parks for more than cross-promotion and merchandising opportunities. Until the late 1990s/early 2000s, they also used their parks as production studios and offices that acted as a counterpart to the Hollywood divisions (StudioCentral.com). The television channel Nickelodeon also operated two sound stages plus production offices at Universal Studios Florida (Riley, 1998). So, in addition to using the intellectual property provided by the movie and television studios, the two media giants used their parks as production facilities to create new media and entertainment content and create production jobs in Central Florida (Milman, 2001). Beyond MGM’s timeless logo featuring the Latin inscription ars gratia artis (art for art’s sake) surrounding Leo the Lion, the cinematic works and television programs can be converted from visual art to commodities because they now have a material place to exist in the real world accessible by millions.

DisneyMGMIn essence, the entertainment elements and advertising materials are so thoroughly fused that it is nearly impossible for the average park guest to tell them apart. Beyond the surface level of movies and theme parks, there is evidence that, when planning a blockbuster movie, the studio has it in its mind whether of not this movie would be good to ride or be used as a theme in a park for shows and other attractions. Susan Davis (1996) explains that the media conglomerates, that primarily run the theme park industry, can pull from other media resources by way of acquisitions, partnerships, and licensing in order to grow and widen audiences and park guests. A classic example of this is the (no longer active) partnership Disney had with MGM Studios. Disney’s licensing deal with MGM allowed the company to use the iconic MGM logo and pull from its film library.

2006_psychotramIt’s well established that theme parks are an outlet for the parent companies that own them, and the movie studios they also own, to act as conduits for one another: the end result being cash flow. But, there are different ways of utilizing the cinema to benefit the theme park experience (Riley, 1998). Whereas Disney uses the characters in its movies to bolster the parks’ influence, Universal Studios (Hollywood and Florida) took a different approach (although, Universal is trending toward the Disney model in recent years). Universal Studios uses its studio tour(s) to blend labor with spectacle (Murdy, 2002). This offers the park guests a glimpse into how films are made. In recent years, this has provided less of a pull since it is common knowledge that a large portion of filmmaking exists within a computer. Universal Studios presents cinema and television history, production techniques, and special effects to impress the audiences and guests. So, one could assess that Universal Studios parks are self-reflexive in their choice of entertainment. At least this was true until park guests demanded more thrill rides and less education and appreciation for film and television art and history (Murdy, 2002).

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What is Wrong with Rey? — Kibbin’s Codex

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Check out this interesting article by one of the bloggers I follow! I appreciate how he supports his thesis with evidence from not only Force Awakens but also other movies in the Star Wars universe. Whether you agree or disagree, he has written an intriguing article.

Rey is a bit of a “problematic” figure in the new Star Wars movie with everyone from Feminists to Mens Rights Activists putting her forward as their figure head for what is right and or wrong with the world. Beloved Liked Known writers are being sent death threats over their opinion of her. Now I didn’t […]

via What is wrong with Rey? — Kibbin’s Codex

“The Boss” movie review

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TheBossA truly diversified portfolio of comedic stock! Last year Melissa McCarthy was a spy; and this year, she’s the boss. Over and over again, McCarthy proves that she is a brilliantly talented funny lady. And whereas some may see this movie as a sloppy pandering comedy, I see it as a fantastically entertaining movie with a pretty good plot filled with well-developed characters. No story exists without conflict, and comedy is no different. The best comedies are those full of conflict that ignites the hilarity and irony. Very much in the vein of other McCarthy comedies, The Boss is over the top. But, that’s perfectly acceptable because the movie certainly opens with a larger than life scene, and the movie never pretends to be something that it’s not. This type of comedy knows exactly what it is, and it rocks it! I always have more respect for movies that do not pretend to be anything other than what they are. It’s designed to provide an escape from the doldrums and mildly depressive lives many of us have and provide us with the best medicine–laughter. Is this new comedy on par with Bridesmaids or Spy? No. But, is it funny, filled with fun characters, conflict, and satire/parody? YES.

Universal Pictures’ The Boss is a slapstick comedy about media and economy mogul Michelle Darnell (McCarthy) who has pulled herself up from the tragic and challenging roots of her childhood to become the CEO of multiple Fortune 500 companies. But, like with all good things…after inside information, Michelle is found guilty of insider trading after a tipoff from a former friend turned enemy of hers. Having all her assets frozen, personal property confiscated, and losing her house, Michelle has no where to go after her short four-month stint in a white collar correctional facility. She has to turn to her former executive assistant Claire (Kristen Bell) for help. After driving Claire and her daughter crazy, Michelle is forced to start pulling her weight, which means taking Rachel, Claire’s daughter, to her Dandelions meeting (totally a parody of the Girl Scouts). That proverbial meeting proves to be just the catalyst Michelle needs to return to the top. However, she will soon come face to face with all new challenges in her business and personal life as she rises back to her previous epic heights.

At first glance, this movie appears to be another zany comedy that only McCarthy can pull off. Much in the same way Amy Poehler and Tina Fey are often type casted. But, a closer look at The Boss reveals a surprisingly well-developed and executed plot that is incredibly well-paced and includes impeccable comedic timing. Like with Poehler and Fey’s Sisters, this movie too has a heart-warming message throughout the narrative. You’ll just have to watch it to find out what that is. Like with the opening scene at Chicago’s United Center with Darnell descending to the stage on a fiery phoenix alive with pyrotechnics, Michelle herself is larger than life. Interestingly, this opening parallels the career or acting-style of McCarthy. She is the type of actor that has yet to prove a wide range of characters; but with the characters she plays, she is often the most dominant character whether among the supporting or leading cast. We expect her to provide us with that which we are accustomed to watching and enjoying. And in that respect, she has yet to fail her audience.

The phoenix at the beginning also symbolizes, as many of us know, the rising from ashes of defeat to become even more resilient and powerful than before. The character of Michele Darnell is very much a phoenix in this story. But is she the only phoenix? No. Michelle’s former assistant Claire is also a type of phoenix. Granted, she was not on top of the world and fell from splendor, but she also takes a journey similar to the phoenix. As Michelle’s assistant, she had a good job (although not paid nearly as well as she should have been)–let’s just go with the fact that she was employed. When Michelle lost her assets, she was no longer able to pay Claire and she was forced to take employment elsewhere. From riding around with Michelle in Cadillac Escalades to working in a cubical in a administrative pool, Claire fell from the glamour she was associated with by extension. After several turning points in the movie, which you will just have to see for yourself, Claire begins to rise up to achieve goals she never thought she would–personal and professional triumphs.

Unlike many comedies, this one has a dynamic range of dialog, physical antics, and high brow humor that is sure to keep you laughing during the movie. Furthermore, contrary to how many may perceive or expect of comedies, it is important that the audience not continuously laugh the entire time. If there is so much “funny” in the story structure, then the moments that should elicit the most laughter won’t succeed because they will just fall in line with the rest. It’s like Michelangelo’s famous Sistine Chapel ceiling fresco. Although I have never been, from others who have told me about their travels, the ceiling is not nearly as impressive as one may think it to be. Why is that? Because there are many painted ceilings throughout the chapel so Michelangelo’s masterpiece is fairly anti-climactic. Fortunately, The Boss strikes a pleasant balance and timing between the high comedic elements in plot and dialog. Another component of this movie that is sure to please the audience is the cameo by Kathy Bates! Thats right. Better known for her more serious roles, Kathy Bates is one of the most amazing actors because she can truly play a wide range of characters in film or television from the serious to the funny. It takes only the highest level of acting to be able to deliver brilliance in such a short amount of screen time. Plus, having Bates just classes up the film a little!

If you love Japanese katana fights, this movie has it! If you are a fan of McCarthy’s style of comedy? You won’t be disappointed. Having a bad week and just need to laugh for a while, then this movie is for you! There is little that I did not enjoy about this comedy. By no means to I argue that this is an amazing film–certainly that isn’t the case. But, is it s FUN movie that is actually well-produced, written, and acted? Yes it is.

How to Get American Netflix in Canada

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Screen Shot 2016-04-07 at 3.47.05 PMBreaking away from my typical entries, I found this interesting and desired to share it with you. Having recently attended a conference with a speaker from Toronto, this topic came up. The speaker commented over drinks that she is unable to watch American Netflix in Canada. Since analyzing media and entertainment is something I do, I decided to explore how one could enjoy American Netflix in Canada. While I was browsing the internet for ideas that I may be able to share, I stumbled across this website. I found it to be quite useful and seems to solve the problem of the inability to access American (U.S.) Netflix in our neighbor to the north. Click HERE.

“On Cinema and Theme Parks” (part 7)

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In the current business model of theme parks, the park itself serves as an instant and rapid income generator for the larger parent corporation. “Immediate profits are made in much the same ways as in other mass entertainment industries, such as movies, rock concerts, and mass sports events” (Davis, 1996, p402).  However, the theme park differs from the amusement park because it depends on a narrative around which to build the rides, shows, shops, and restaurants (Herwig, 2006). And this is where the movie studio branches of these large corporations come into play. The movie (usually an epic, horror, or adventure) provides the narrative for the theme park (Herwig, 2006). Instead of the amusement park concept of hiring random performers, “the theme parks, by contrast, specialize in experiential homogeneity (Bristol, 1996). Simply stated, the theme park carefully crafts the types of performers that will be there. Ordinarily, the performers are in live shows directly associated with a work of cinema [e.g. Beauty and the Beast: Live on Stage (Walt Disney World), Beetlejuice Graveyard Revue (Universal Studios), or Grinchmas (Universal Islands of Adventure)]. While, midway performers and carnival workers or the golden age of the circus or roller-coaster parks are a hodgepodge of different ideas, the theme park is centrally produced and conceptualized for an experience that transcends from the superficial down to the core (Block, 2012).

If a theme park is designed well, the park guests can easily describe the theme. For instance, Disneyland’s theme would be the Magic Kingdom of Disney fantasy; the guests at Universal Studios can easily understand the theme is the movies. Not all parks are able to draw on a vast film heritage (e.g. Six Flags, Cedar Point, SeaWorld Parks and Entertainment). However, the parks with a direct connection to the cinema have consistently out performed their respective counterparts (IAAPA, 2014). There are exceptions to this rule of thumb, though. SeaWorld Parks and Entertainment does not have direct access to a vast film heritage (like Universal or Disney), but it perfected how to capitalize on theming from a historical perspective (as did Busch Gardens Williamsburg) and from a zoological perspective (as did SeaWorld Parks and Busch Gardens Tampa Bay) (Davis, 1996). However, in recent years, SeaWorld Parks and Entertainment has tapped into the franchises of DreamWorks Pictures and Sesame Street because of the instant association with cinema and television entertainment (Niles, 2013).

Before tackling this paper’s over-arching concept of analyzing the convergence of theme parks and movies, the question of “why media conglomerates” needs to be explored. It is important to note that in her article entitled The Theme Park: a Global Industry, author Susan G. Davis (1996) tackles this very subject. She suggests that the short answer is the simple fact that well-produced and directed theme parks are extremely profitable in the short-run. But, the fact they are highly profitable quickly does not take away from the fact that they are a massive financial expenditure for years prior to opening the gates to audiences turned guests. Once up and running, these mass entertainment behemoths provide an extraordinary source of virtually endless income for the media conglomerates. This income is used to produce the movies that will eventually wind up in the parks, and are also used for park improvements as technology and public taste or opinion changes (1996).

The acquisition of an existing or development of a new park is a perfect way for media conglomerates to enter into the tourism industry, thus providing a greater array of diversification. By gaining access to the tourism industry, media conglomerates can not only continue to make the movies they want, but can license or operate cruise ships, golf courses, restaurants, hotels, and resorts. In effect, by entering into the tourism industry, the media conglomerate can essentially create an entire entertainment district that acts as the fabled goose that laid the golden egg.

You can always find out what you missed by buying my book on Amazon.

To go back to the beginning of the series, click HERE.