Tag Archives: Hollywood Studios

“Where are You Christmas?” A Review of “Jingle Bell, Jingle BAM” at Disney’s Hollywood Studios

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img_7604One of my favorite times of the year at the Disney Parks is the holiday season. And not just November through December but September through October too. The autumn and winter holidays offer so much opportunity for seasonal offerings that make the Holidays a special time of year for friends, family, and lovers. Of all the holidays, Christmastime is the generally the highest attended and most looked forward to at the Disney Parks. Whereas Universal Studios Florida is the king with Busch Gardens Tampa Bay as Queen during Halloween, the big D is arguably king at Christmas–perhaps the Jingle King? Putting a Christmas spin on Pumpkin King. For years, hundreds of thousands of park guests flood the Disney Parks to enjoy everything from Cinderella’s Castle draped in icicle lights to Mickey’s Very Merry Christmas Party to the late Osborne Family Spectacle of Dancing Lights and even Holidays Around the World at Epcot’s World Showcase and Jingle Cruise (the holiday overlay at Jungle Cruise). Not to even mention the elaborate gingerbread houses and other creations at the Disney Resorts. Over the last few years, we have witnessed a slow mitigation of Holiday offerings. Most notably the Osborne Family Spectacle of Dancing Lights at Hollywood Studios (DHS) and Animal Kingdom’s Jingle Jungle Parade. Along with so many anxious park guests and Cast Members, I too was curious how DHS was going to adjust its Christmas offerings with the conspicuous absence of the Osborne Lights. Sunday night, I was finally able to watch the new Jingle Bell, Jingle BAM show at DHS, and if I had to sum up the experience in one word, it’d be a lukewarm “meh.” But as you know, I will provide you with many more words, haha…….

After the announcement of Jingle Bell, Jingle BAM as the special seasonal nighttime spectacular offering at DHS, I was still sad that there were no more dancing lights but I was looking forward to the new show and how it was going to play out. Taking place in the center of the park at the replica of the timeless Grauman’s Chinese Theatre serving as the show building for the opening day attraction The Great Movie Ride and icon of the park, Jingle Bell, Jingle BAM (Jingle BAM from hereon) is a colorful display of map projections, lasers, and pyrotechnics. Many of your favorite Disney and Pixar animated films are included as well as a sequence from Tim Burton’s The Nightmare Before Christmas. In addition to the familiar film clips, there is a loosely integrated narrative with Santa’s elves and then a message from the big man himself. Accompanying the outstanding map projections of gingerbread men, presents, snow, and other holiday iconic images are a vast array of lasers crisscrossing the sky adding an immersive effect to the courtyard and Hollywood Blvd. No nighttime spectacular at the Disney parks would be complete without pyrotechnics. Jingle BAM boasts a fantastic finale of fireworks that dazzle the sky.

For all the wonderful potential the show has, it unfortunately fails to leave even half the lasting impression that the Osborne Lights left in the hearts and minds of park guests for 20 years. There are a few key elements that contribute to the mediocre reception of Jingle BAM: (1) DHS is not designed/laid out for a nighttime hub show (2) narrative is weak (3) plays out very flat–lacks depth (4) the fireworks are nowhere close to being centered behind the Chinese Theatre (5) fails to elicit a positive emotional response from the park guests (6) Santa’s message is generic and forgettable and (7) there is very little “Christmas” to be found in the show, period. However, it’s not all bad. The show is an outstanding combination of programming, projection technology, and brilliant lasers. The lasers greatly enhance the experience when the snow falls along Hollywood Blvd. From a technical perspective, the show is an incredible spectacle of what happens when art and science are combined.

Unless you arrive one or more hours before showtime or purchase the special dinner/dessert package viewing area, you will quickly notice that your view is most likely obstructed by anything from palm trees, to tech booths, to light poles, shoppes, or even children on the shoulders of parents. Let’s face it, the latter is unavoidable. If you’ve ever been to DHS, you’ll remember that the courtyard in from of the stage in front of Great Movie Ride (GMR) is quite small. Possibly a 1/3 of the size of the one in front of the Tree of Life at Disney’s Animal Kingdom (DAK). So, there isn’t much physical space to work with when accommodating thousands of guests in the same location for a 15min show. Although Osborne Lights moved over the years, it was a staple to the local holiday celebrations, for sure, as well as those who would travel hundreds of miles. Very quickly, for those of you who do not know the history of Osborne Lights, the show was originally on Residential Street (a street of TV houses) until it was moved to its former location on Streets of America (production standing set). Families and friends could casually stroll through the millions of lights that danced every few minutes–synced to classic and contemporary holiday hits! No showtimes. Just continual twinkling and dancing from sunset to one hour after the park closed.

Much like the hub area, the backlot area was also unable to support the majority of the park guests at any one (1) time. So, the continual dancing was important because guests could attend at their leisure. Compounding the physical space dilemma, there are also new palm trees that were installed after the hat was removed, two giant towers that are tech/electrical/equipment booths for the “temporary” stage that sits where the hat was, and several light poles. Once you back up toward Hollywood Blvd, your view is also blocked by the other trees and shoppes. Unlike Magic Kingdom, which has a low grade incline from the train station to the castle, there is no incline from the entrance of DHS to GMR; therefore, the possibility of an obstructed view is greatly increased. Never mind that GMR is less than half the height of Cinderella’s Castle. Between the level surface from the entrance to GMR, the palm trees directly in front of GMR, and the tech booths blocking the view from Hollywood Blvd, it is clear that this park is not designed for a hub show. At least a hub show that runs only once. And you know what? There is little that can be done about the layout of the park. So. The Imagineers and entertainment leadership should recognize those shortcomings and develop a way that a decent view of the show is possible from the central area of the park.

I love the concept of storytelling–in all forms. So, naturally I was curious as to how a story was woven into Jingle BAM. Even now, I am attempting to piece together what the story was. Essentially, the elves are looking for Santa because he is missing. Turns out that he has been captured by Oogie Boogie from The Nightmare Before Christmas. After Boogie’s song number, Santa is rescued. Following Santa’s rescue, he has a message about friends and family. More specifically, he directs the message to the City of Orlando. But, it just doesn’t strike an emotional tone. It plays off as canned and generic. Tiny Tim’s closing remarks “God bless us, everyone” from Charles Dickens’ masterpiece A Christmas Carol packs much more meaning and impact. Interestingly, it is the other bookend and answer to the novel’s opening line “Marley was dead to begin with, there’s no doubt about that.” I think a holiday message about friends and family is very important, but this one just plays off as forced–like other elements of this show. There is definitely a story and message there, but it is weak. Perhaps it would have been more effective to include some holiday spirit or nostalgia in his closing remarks. I think the show would play out just as well–if not better–if the plot of rescuing Santa wasn’t present. Not that I think the show should be without a story, but the story should be more coherent. Stories, such as this one, should also attempt to elicit an emotional response from the audience but it does not extend its reach beyond the surface level.

The over all experience of the show lacked depth. It felt very flat–like a projected image, ironically enough. All surface level and spectacle but no substance. One of the major attractions to and benefits from Osborne Lights was the total immersion into a winter wonderland. Immersion is so incredibly important in themed entertainment. The Osborne Lights provided more than a show–an experience! Even more importantly than immersion is the concept of experiential attractions. And this was an experience like no other. Jingle BAM lacks these all too important elements of immersion and experience. Instead of experiencing the seasonal holiday offering, park guests watch as third party spectators. The only time it becomes mildly experiential is when the Florida snow begins to fall. One of the most important elements to the experience of the Osborne Lights was the park guests’ ability to go from spectator to participant. The transition from spectator to participant is a popular trend in themed entertainment attractions because it offers a much more visceral experience. But what about the other nighttime Disney shows??? Aren’t they more of a spectacle than experience? Short answer: yes. Wishes, Illuminations, Fantasmic, and the Tree of Life are all about the sheer spectacle of it all. And there’s nothing wrong with that…provided that is how it’s always been. However, Wishes is set apart because of the strong emotions the music and pyro evokes from the park guests. It truly is a magical experience. But the problem occurs when the park offers a participatory experience and replaces it with something more along the lines of a glorified short film.

Most Disney nighttime spectaculars offer a phenomenal dazzling array of pyrotechnics and fireworks. Keeping in line with the tradition of magical Disney fireworks, Jingle BAM also offers an impressive choreographed firework display and dynamic finale. Unfortunately, those fireworks are not behind the Chinese Theatre–not even close. The majority of the pyro and entire firework finale is way off stage left (house right). illuminating the sky above the Animation Courtyard, the fireworks cause the park guests to turn their heads 90-degrees (away from the center of the show). Although DHS would have to close the Pixar area during the Galactic Spectacular (Star Wars nighttime show) in order to keep guests safe from the falling debris, the fireworks shot off above the Chinese Theatre making for a phenomenal nighttime show that was truly spectacular whether you are a Star Wars fan or not. The show was incredibly impressive. With the fireworks way off to the side at Jingle BAM, it feels more like a distraction than the finale.

Lastly, the show simply does not have that holiday spirit. Other than Santa and a couple Christmas songs, the show has a very generic feel. So much so that, take away Santa and replace a few other elements and the show could silly be modified to run as part of daily operations. That certainly displays efficiency, but this is a seasonal offering during Christmastime and should feel special. Guests should have the impression that they cannot get this experience anywhere else. As it stands, this map projection show is not unlike the one at Magic Kingdom. Since Disney has two popular versions of A Christmas Carol as part of its IP, I was shocked that neither make appearances in the show. What is more Christmassy than the timeless classic??? The lack of Christmas music is compounded by the absence of Jack Skellington’s lyrics in the song What’s This? from The Nightmare Before Christmas. As part of the score for Jingle BAM, the accompaniment from What’s This? can be heard, but no lyrics. Although many people celebrate the holiday season differently and various elements are held more dearly than others, there should have been a mixture of classic and contemporary holiday hits to create a festive atmosphere. The magic of Christmas is very much lacking in this seasonal show. Where are you Christmas?

Over all, Jingle BAM is a cute show. Is it a replacement for the late Osborne Lights? No. Is it filled with holiday cheer? Not particularly. But perhaps this is the start of something that will grow to become nostalgic for guests that are just now experiencing the Disney parks for the first time. With map projection shows taking the place of more practical effect shows, we could simply we witnessing the next evolution of nighttime spectaculars at Walt Disney World. As I recognize the need to evolve and develop new ideas in order to keep the parks relevant to current generations, perhaps Disney Imagineers can find a way to combine both the Osborne Lights and the map projection concept in a new dynamic show–a new experience. In the short term, if Disney Imagineers could find a way to modify the current Jingle BAM to go from a one (1) showtime to something more continuous like the Tree of Life at Animal Kingdom, then that would quickly solve the physical space and adequate viewing dilemma.

 

DCA’s Hollywood Tower Hotel Under New Management

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TOT_DCA_GGThe recent news of the Guardians of the Galaxy makeover of the iconic Tower of Terror (TOT) ride at Disney’s California Adventure has many, if not most, fans of the attraction up in arms. Apparently, it was not being guarded too well. Suffice it to say, those of us who spend a great deal of time in the parks (for me, it’s the Florida parks mostly), we are accustomed to seeing iconic attractions go by way of Jaws: the Ride. That does not mean that one ever gets used to or accepts it; but the fact is that the theme parks have to evolve in order to keep up with those who bring in the most revenue (kids and teenagers, because of their parents or grandparents). Of course, some evolutions are better left in AutoCad. With the Walt Disney Company unable to integrate the Marvel IP into the Florida parks to any significant extent (in terms of attractions), it seems the only choice is to overhaul the Disneyland Resort (DLR) near Los Angeles…

At first, many theme park enthusiast must be wondering why??? However, exploring this recent news from a critical perspective reveals that it is a business decision, plain and simple. As I have written many times, theme parks are glorified arms of revenue–a business line item–that are designed to be cash cows, instant revenue. Most likely, the DLR company conducted surveys and focus groups concerning a proposed idea to refit the Twilight Zone Tower of Terror with Guardians of the Galaxy. Although it is expected that some attractions have to be removed or retrofitted, there are certain attractions–especially in the Disney Parks–that should not be touched. The Disney Parks more so than the Universal Parks rely upon nostalgia. In many ways, this modification of the TOT at DCA is sacrilegious to the original theme of the parks and will upset many people. With the massive refurbishment of TOT, this leaves park regulars and future tourists wondering what iconic attraction is next. If TOT is not safe, then is any attraction safe from elimination??? But, is retheming an attraction always met with disdain? Certainly not. When the 20,000 Leagues Under the Sea attraction at Disneyland Park received its Finding Nemo refurbishment, it was generally met with excitement and praise. That is probably because the soul of the attraction was left in tact. By extension, it could be said that retheming Mission: Space at EPCOT with a Guardians of the Galaxy makeover would actually be welcomed and appreciated as that attraction is getting dated and simply does not see even half the guest numbers that it once did. But should Spaceship Earth get rethemed to a Marvel IP? Definitely not. There are attractions that need to be rethemed or reimagined every couple of decades or so, and then there are those which are best left alone for all to appreciate over the years. But how to know the difference? That’s the question.

Many theme park researchers and fans alike never thought that ToT would become extinct; that is until the rumors began floating around in the last year or so. Much like Universal Studios Florida, Disneyland Resort suffers from lack of room for expansion. Yes, I am aware the Universal has acquired more land recently; but for argument sake, it is important to be able to compare the two. One reason why Universal needed to retheme and replace entire attractions is because it did not have the luxury of expansion until recently. So, the only way to integrate new offerings into the parks was to replace existing ones. Much in the same vein, DLR is also landlocked; and in order to integrate new offerings, it too has little choice but to replace or retheme existing attractions or lands. Accepting the fact that DLR has limited room for geographic expansion, leaves only one alternative: continue to modify the park every 15-20 years or so. The largest source of revenue for theme parks are kids and teenagers. Not that young and older adults do not add large numbers; but the families with kids and teens are the ones who bring in the most revenue due to multiple family members needing multi-day tickets and potentially several nights in a hotel. For every one or two people going to the park alone or together, there is likely one or two families or groups of 4-6 or even more who are also going. Think of it as a 1:4 ratio (and that is probably conservative). Much like Disney’s Hollywood Studios is almost losing its identity with and connection to the magic of filmmaking, with the massive addition of Star Wars and Toy Story Lands, DCA looks like it is also shedding its story of California and Hollywood and dawning the dominant theme of Marvel and Cars. Yes, the parks are integrating movies but not in the same way that the parks were originally designed.

Why is losing its original identity an important part of the equation on whether something is considered a legacy attraction or not? Because once the identity of old Hollywood or the magic of filmmaking is stripped away, then what was once seen as iconic or legacy no longer has that image or appeal. If DCA no longer represents Old Hollywood, gold rush California, or beachside amusements, then the Hollywood Tower Hotel no longer seems relevant. Although many people recognize the Twilight Zone music, it is safe to say that most kids and teens do not know what the Twilight Zone is or was. They don’t know that it was a groundbreaking anthology series in TV’s earlier days. So, if those who are not driving the most revenue into the parks do not understand the significance or nostalgia of the Twilight Zone, if they do not see the park as representing Old Hollywood or filmmaking, and if they have never seen the Tower of Terror movie, then that attraction becomes a prime target for a complete overhaul or massive refurbishment. Essentially, it is like a member of a royal family getting striped of his or her title under a new monarchy. Simply stated, it is apparent that the Twilight Zone Tower of Terror no longer qualifies as a legacy attraction at DLR.

We can analyze this decision all day long and arrive at a litany of conclusions or rationale for why this was or was not a good decision; but the fact of the matter is, unless things change, the ToT at DCA is going to become a Guardians of the Galaxy attraction. In my personal opinion as a theme park enthusiast and long-time fan, I am saddened to see this attraction get replaced by a newly acquired IP; but, the analyst in me can understand why the company is making that decision. Looks as if the Tower of Terror left it “guard” down. Perhaps the new theme will be a success! However, that success comes at the cost of an opening day attraction that many will miss.

“On Cinema and Theme Parks” (part 10)

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My Book

The overall theme of movie-based theme parks has gone from exposure and education to simulation and immersion—much more experiential. Instead of seeing how Harry Potter movies are made, guests at the Studio-Parks want to feel like they are Harry and his friends. And, this is not something that could be achieved by the former models of original Universal Studios Parks or Disney’s Hollywood Studios. So, the parks have to change in order to remain relevant and viable tourist destinations. Concurrently, movie and television studios are going through their own evolutionary process. In many ways, a careful examination of modern cinema compared to its predecessors reveals that storytelling has been removed from its pedestal to play second fiddle to salesmanship.

As explored earlier, spectacle and visceral thrills are the principal drive for the modern (1990s-present) cinema-based theme park attractions, and, for some, they confirm the worst tendencies identified within the Hollywood blockbuster: the epitome of apparently vacuous rollercoaster experiences. According to King (2000), “the label ‘thrill ride’ is a term often used approvingly in Hollywood publicity and by some film reviewers in the press, presumably because a trill ride is precisely what many viewers want from modern cinema” (2000, P27). The late 1980s and the 1990s saw the arrival of theme park attractions that claim to allow the park guest to ride the movies; movies became theme park attractions. But now, theme park attractions are inspiring films. Beyond being the inspiration for films, the idea of being able to market a horror, action, or epic film or film franchise or the ability to create themed attractions from the narrative is at the forefront of studio executives’ minds, as cross-promotion is an important financial strategy (King, 2000).

CinecittaParkMapCreating attractions from cinema is not unique to the United States. The former Italian cinema powerhouse, from the early to mid twentieth century, Cinecittá Studios, known as the “Hollywood on the Tiber” is following suit with its American counterparts and converting the production lot(s) into a movie-based theme park. Located outside Rome, Cinecittá Studios, Italian for “Cinema City,” opened its gates this year (2014) to the public to experience the magic of movies on this side of the screen (Associated Press, 2014). According to Emmanuel Gout, president of Cinecitta, “Here, the idea is that people will also enter not only sets, but the confusion of a place where we are shooting movie. Everything will be illusion…the visitor will become a protagonist of the day, becoming a star, becoming involved in some fake movie” (Associated Press, 2014).

CinecittaStreetsThe model of this theme park appears to be more reminiscent of how the classic American movie-based theme parks were setup; however, there is one big difference. At the new Cinecitta Studios (theme park), park guests will actually don costumes and take hold of props to act in scenes from movies. So, in many ways, this park differs from its American counterparts because it is not defaulting to digital simulations and special visual effects; instead, it’s using practical technologies to create the illusion that the guest is actually on the set in the movie as a character in a given scene. Still, three-time Academy Award® winning production designer Dante Ferretti knows that audiences and guests want more than an immersive experience into movies, but want thrills as well. So, there are rollercoasters and water slides, amidst Roman and Egyptian ruins, to accommodate those guests seeking more conventional amusement park attractions (Associated Press, 2014).

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On Cinema and Theme Parks (part 3)

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Continued from Part 2My Book

Some of the most impressive and revolutionary changes to the movie-based theme parks came to fruition in the 1970s and 1980s. This is the time that horror became the chief source of inspiration for attractions at Universal Studios Hollywood (Riley, 1998). The ride that ushered in the plethora of attractions based on some of the best horror movies of all time was Jaws. JawsThe Jaws Ride was opened as part of the studio tram tour in 1975, and was an immediate hit with the park guests. It was quickly followed by Kongfrontation and Earthquake: Ride it Out (Murdy, 2002). Just as audiences are fascinated by horror movies and seek to watch that which would be repulsive in real-life, they are equally interested in immersing themselves into the experience by way of a theme park attraction. This phenomenon is not limited to horror movies, because rides like Jurassic Park the Ride (Jurassic Park River Adventure in Florida), Revenge of the Mummy, and Pirates of the Caribbean beckon millions of guests a year (IAAPA, 2014). In addition to attractions based on the movies, movie studio executives and theme park engineers created attractions that embody what Carl Laemmle first envisioned, by taking the audience behind the magic of the movies. This is the case with the (now closed) Backlot Tour at Disney’s Hollywood Studios and Hitchcock: The Art of Making Movies at Universal Studios Florida (Murdy, 2002). The relationship between the cinema and theme parks is a strong one and creates an energetic synergy that entertains millions of people each year.

Not every movie-themed attraction is a smash hit with the guests, just like not every big-budget movie is a hit with movie patrons. Although well-intentioned by the producers of both, or even the media conglomerate that has major investments in or owns both, may desire and believe they did what it took to create the next blockbuster ride or movie, sometimes the guests fail to view the movie or attraction with the same lens the designers and backers used to create the film or ride. In terms of movie or intellectual property-based attractions, major theme parks can make mistakes or lose out because of the ownership of some parks changing from one conglomerate to another.

LightMagicNot every flubbed theme park attraction is a “ride;” sometimes it is a show or parade. The failure of a show/parade can be seen in the four month—yes, four—run of Disneyland’s Light Magic “street-tacular” (Krosnick, 2014).  More than another light parade, Light Magic condensed the number of parade floats ordinarily expected in a Disney parade to four large stages that, along the parade route, would burst into light, pyrotechnics, and digital projections. It was complete with a pantheon of Disney characters and music. Unfortunately, if you chose to stand in the wrong spot, all you get is darkness and vaguely familiar shapes of characters. Following a very poor reception by Disneyland passholders, the negative word of mouth was so severe that it effectively caused the closure of the new entertainment offering that sent $20MIL down the drain.

TombRaiderRideAccording to Theme Park Tourist (2014), popular seasonally operating Paramount’s Kings Island (purchased by Cedar Fair in 2007 and all Paramount property removed) spent $20MIL on a ride that lasted a mere five years. Based on the hit video game and blockbuster action movie Tomb Raider: The Ride was on par with Disney and Universal in respect to story, setting, and special audio/visual effects; however, after Paramount sold off its theme park investments to Cedar Fair, the ride got rebranded as The Crypt, a generic theme, and all direct associations with the movie and game Tomb Raider were removed following the 2007 operating year.  Interestingly, the ride attendance continually dropped following the rebranding, and the ride was eventually moved to Kings Dominion in Virginia in 2012. Although there may be other reasons as to why the ride became less popular and eventually moved to another park, it is conceivable to conclude that there is a special relationship between attractions and movies in a theme park. (Krosnick, 2014).

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