Tag Archives: Horror

You Don’t Stand a Chance: Universal Orlando’s “Halloween Horror Nights 26” review

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hhn26logoA dynamic range of houses and horrifying encounters! Of all the Halloween Horror Nights (HHN) over the last few years, this year could likely be my favorite. From the houses based on familiar IPs to the original concepts, there is something for everyone as HHN turns 26. Even the wildly popular and iconic Bill and Ted’s Excellent Halloween Adventure was refreshingly funny this year. Although HHN has the reputation for being an event at which it’s nearly impossible to experience all the houses and the Bill and Ted Show in one evening, I’ve concluded that if you arrive at open and remain until 2am that you CAN make it to all the experiences on a typical crowd night. Unfortunately, my friends and I lacked three houses to complete them all since we arrived at 9pm; but two of those three were not ones that I was planning on experiencing anyway. Since I pay for annual passes to Disney, Universal, Busch Gardens, and SeaWorld, I do not opt for the frequent fear pass that Universal Orlando img_6981offers for multiple visits to the celebration of the macabre, so I try to do as much as I can in one night. And this year, I am quite pleased with what I was able to accomplish during my time at one of the areas two best Halloween events (the other being Howl-O-Scream at Busch Gardens Tampa Bay). If you haven’t been to HHN (or HOS) this year, there is still a couple of weeks to visit Universal Orlando or Busch Gardens and experience some outstanding scares, irreverently funny shows, and special times with friends.

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stage19One of my favorite parts of the seasonal Halloween events at the theme parks is experiencing the transformation from daytime operations to Halloween. From the music to the lighting, the very atmosphere of the park sets the mood to be scared. Another personal favorite experience at HHN specifically is witnessing the uncanny (that which should remain hidden but reveals itself) by venturing behind the scenes of the park and entering sound stages that used to house television productions and former attractions. The two most nostalgic and uncanny memories from last night is walking through American Horror Story in Stage 19 and Krampus. If you’re a long-time visitor to Universal Orlando or simply a theme park enthusiast, you might recognize why Stage 19 would be nostalgic. Stages 18 and 19 are where Nick was made! Soundstages 18 and 19, along with 17 as part of the Universal Studios Florida studios tour and 21 leased occasionally, were the home of Nickelodeon Studios in the 1980s-90s (minimally in the early 2000s). I love the juxtaposition between the classic Nick shows that were produced there against the present haunted houses. The Krampus haunted house is located in the former Alfred Hitchcock soundstage that was part of the Hitchcock: the Art of Making Movies attraction until 2002. I had not been in that stage since before the iconic opening day attraction closed its doors to make way for Shrek 4D. While walking through Krampus, I couldn’t help by wonder if we were standing where the Bates House, Motel, or infamous shower used to be.

img_7009-1The first house that my friends Derek, Adrianne, and I experienced was Krampus. With only a 30min wait, it was definitely a great way to begin the evening since the parking garage was a complete cluster (not one parking attendant was to be found in the garages). Located within the former Hitchcock Stage, Krampus is an impressive translation from screen to live experience. Since my research area and peer-reviewed publications are on the topic of experiential storytelling and film/theme park convergence, this is an element to which I pay particular attention. Doesn’t mean that I don’t concurrently enjoy the entertainment value of the house, but I am always looking around to see if I can get a glimpse of the magic behind the experience. Since we are four weeks into HHN, there’s a good bet that many of you have experienced the house, but I don’t want to spoil it for those of you who have not. Upon entering the soundstage, the skies grow dark, the wind howls, and the snow blows across your face as you enter the stately home from the movie Krampus. Each and every room depicts an event from the movie. From the sinister jack-in-the-box to the demented gingerbread men, you will encounter nearly all the creatures from the movie. And yes, Krampus himself makes appearances here and there. Probably the most surprising effect in the house was the smell of gingerbread when walking through the kitchen–truly felt like an immersive experience. Just like I loved the contrast between horror and holiday cheer in the movie, I equally loved the juxtaposition of a house all decorated for the “most wonderful time of the year” located within a brilliant Halloween event.

img_6994-1After experiencing Universal’s ‘nightmare’ before Christmas, we were left with deciding what to do next. Since we wanted to hit the 12:00 Bill and Ted’s Excellent Halloween Adventure, we needed to choose something in the mean time. It was at that time, that we began to experience some light rain. With the queue for American Horror Story down to a 60-minute wait time–all indoors, we could easily hit that house and then the show. On the way to the house, we stoped for a pretzel and churro (salty and sweet). I was excited that the AHS house was located in the old Nickelodeon soundstage. What makes the AHS house unique, is the fact that it’s really three houses in one. The seasons of the series that the house covers is “Murder House,” “Freak Show,” and “Hotel.” Instead of combining elements from each of them into one house, Universal Creative made the decision to separate them. I was impressed with the character performers selected to bring such characters to life. Those selected to play Kathy Bates and Lady Gaga’s respective characters were ‘dead’ ringers for the leading ladies. If you’re scared of clowns, this house is definitely not for you because you are going to encounter Twisty on more than one occasion. There are a few entire scenes from the show that are recreated for the house. John Hammond would be proud of this house because in bringing the three seasons to life, Universal “spared no expense.” I am definitely looking forward to the next AHS house as I image that Universal will bring it back next year. Perhaps we will get “Asylum” and “Coven” (arguably the favorite of most of the fans of the series) in the next house for HHN 27, and the most recent “Roanoke” combined with whatever season 7 is or HHN 28.

img_7007Following two exceptional haunted houses, it was time for some laughs! One of the highlights of my HHN experience every year is the Bill and Ted’s Excellent Halloween Adventure because it often does a great job of commenting on pop-culture, parodying crowd favorite movies and tv shows, and socio-political satire. Not for the kids that are at HHN, this show is about as offensive and irreverent as they come–it’s brilliant! Usually, anyway. Honestly, I did not care for last year’s show at all. Knowing that the last couple of years have seen the show go downhill in terms of the cleverness of the writing, I did not have high expectations; however, I knew I would laugh and sometimes that’s all that matters. To my pleasant surprise, the show this year was outstanding (most of it anyway). The first 2/3 of the show were filled with witty jokes, facetious behavior, and brilliant one-liners. The overall plot was to figure out Rylo-Ken’s (a parody of Kylo Ren from The Force Awakens) plan to take over the world. Over the course of the more than 30-minute show, the audience encounters pop-culture icons such as Daenerys Targaryen (Game of Thrones), Chewbacca Mom, a Pokemon GO trainer, 11 (Stranger Things), and even Hillary Clinton and Donald Trump. Of course, no Bill and Ted show would be complete without throwing shade on and jabs at Disney World. There is even a joke at the end (a hand gesture) that only true fans of the Disney Parks would get. Unlike previous years, this year’s show had a coherent plot until the showdown consisting of an “Ultimate Versus” that was pretty much just a cluster of most of the cameos from the show in a Captain America: Civil War tarmac battle that resembles a reimagined Super Smash Bros. meets Mortal Kombat battle scene. I find shows that push the envelope–even if right off the counter–in the theme park settings to be some of my favorites. Shows like these are typically open to adding and striking jokes as pop-culture shifts its focus. You’ll find some political jabs that came out of news from just a couple weeks ago in the show. Strong writing is important even in an irreverent comedy. This year’s Bill and Ted contains mostly solid writing and slapstick antics sure to entertain! Other than reworking the showdown, the img_7008only element of the show I would change would be the pre-show funny videos taken directly from YouTube. Yes, some of them are funny; but they are also videos that many in the audience have already seen. I think a better idea would be to have a camera operator follow some of the preparations during construction and rehearsal and cut together a gag or outtake reel. That would be funny and something that you couldn’t get online.

tombNext, it was time to go on an expedition to uncover some dark secrets that ancient civilizations kept in Tomb of the Ancients. An original IP for Universal Orlando this year, Tomb was probably the most impressive house as far as production design. While many, if not most, guests are at HHN for the film/tv IP houses–and to a great extent, so am I–I really enjoy and look forward to the original concepts designed by Universal Creative’s HHN teams. There are themes and elements taken from ancient civilizations an cultures such as Egyptian, Mayan, Incan, Cambodian, and more. After analyzing all the houses I experienced, I am left with the conclusion that Tomb was the most immersive out of all the houses. While walking through Tomb, I made a very interesting observation. It’s an observation that only those who have been to both HHN and HOS could pick up on. Since Busch Gardens cannot compete with Universal on production design, over all, they learned how to perfect the ‘scare.’ One of the methods for scaring guests is false walls, windows, mirror, etc that drop with a loud bang and a scare-actor jumps out. In film terms, this is the classic jump scare. Not having experience every original IP house HHN has done in the past, I cannot say for sure that this concept is new, but I definitely noticed it this time. Just like Busch probably borrows ideas from Universal, this is a great example of how Universal has borrowed from the Busch’s HOS houses.

exorcistLeaving archeological excavations, it was time to head to Maryland. To the home of Regan MacNeil. That’s right. The Exorcist. It is the first time HHN had themed a house based on the iconic cult horror classic. Spinning head, pea soup, Holy Water and all. You’ll come face-to-face with one of the most terrifying horror films of all time. Universal has always done a remarkable job with the forced perspective of its facades. It really feels like walking off the street into the MacNeil house. One of the most interesting aspects to the production design of this house is the practical ceiling. In most haunted houses, the illusion can be ruined by simply looking up and staring at the trusses and air ducts above in the soundstage. Not true with The Exorcist. Through much of the house, if you look up, you’ll see a practical ceiling. This adds to the claustrophobic feel of the house. Other than spending time in at the excavation site, foyer, living room, and other common areas, the majority of the house takes place within Regan’s room (much like with the movie itself). The park guests walk through multiple rooms depicting, in sequence, the events of Regan’s possession and exorcism by the priest. There aren’t too many jump scares in this house. Regan pops out at you each time you walk from one room to the next. But, what’s great about this house is how real it felt. Universal did an excellent job recreating the most notable scenes from the movie and translating it into a live experience.

ghosttownWho would’ve known that the MacNeils lived next door to a ghost town. Another HHN original IP is Ghost Town. Taking a classic haunted house approach, Ghost Town puts park guest in the middle of an old gold mining ghost town that looks as though it stepped right off the screen of an old-timy western. Kind of reminded me of the western sequence from Hollywood Studios‘ The Great Movie Ride. Instead of a bank robbery, you encounter sinister apparitions of gold miners, bar maids, and there’s even a hangin’. Although this house takes a more traditional approach to scaring park guests, it’s not for the timid as there are a great many disturbing images and experiences in this house. Unlike the other houses this year (at least the ones that I experienced personally), this house comes complete with scare-actors in the rafters above. After you are startled by a ranch hand grabbing at you from above, your senses will be greatly heightened because you have to not only worry about what’s around the next corner but what is also lurking above.

img_7021-1The final house I was able to experience this weekend was Halloween II. HHN offered the Halloween I house two years ago, and much like how the sequel (film) picks up right where Halloween I left off, this house picks up right where the previous one left guests. No real surprises in this house. It is pretty well straight forward and includes all that is expected of a house paying tribute to the iconic Michael Myers. From the closet to the hospital, Michael is everywhere. Sometimes everywhere a little too much. There are definitely times that he appears in two separate places in the same room which impacts the believability of the scares. Pretty sure I saw two Michaels standing close to one another at some point. The quality of the house is on par with most of HHN’s houses, and put you right in the middle of the hospital. Much like with the Exorcist house, this one also walks you through and depicts the various kills in the movie. My favorite part of the house comes at the very end, but I won’t spoil it for those who have not been through it.

img_7019Beyond the houses and Bill and Ted show, HHN also offers guests the opportunity to walk through various scare zones. These are areas that typically contain themed scare-actors, music, and minimal production design. Most of the ambiance is created through lights and sound. And of course fog! Conspicuously missing from the scare zones this year is The Purge. Earlier in the summer following the Pulse massacre, it was announced that The Purge was going to be removed from the HHN offerings as either a house or scare zone. The massacre at Pulse had a profound affect upon HHN. One of the observations I made about this year is the lack of death and violence. For the most part, there was very little murder, dismemberment, and seldom a showing of the glorification of violence. Compared past years, this year was quite tame. Although there could be multiple reasons for the mitigation of violent acts, it is most likely related to the tragedy that affects not only the community but team members at Universal Orlando. Just goes to show that there is not need for explicit violence in order to create an outstanding celebration of the macabre during the Halloween season.

img_6989Not having experienced The Walking Dead, Lunatics Playground 3D, or Texas Chainsaw Massacre, I am unable to provide any feedback on or analysis of those houses; but, friends of mine that have experienced them tell me that they are excellent as well. Although Texas Chainsaw has been part of HHN in the past, this year is difference because it is based on the original 1974 Tobe Hooper film instead of the 2003 remake produced by Michael Bay. With the wild success of Netflix’ Stranger Things, it would not surprise me if we see that as a scare zone or haunted house next year. Twenty-six years in, HHN is still going strong. Still debating on whether to attend HHN or HOS this year? Debate no more because both events are fantastic. Want to experience your favorite horror movies and TV shows? Then HHN 26 is your destination. You’ll definitely enjoy all that is offered to the guests this Halloween Season.

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“Don’t Breathe” movie review

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DontBreatheDon’t visit Detroit. Don’t Breathe is a brilliant horror film that will keep your adrenaline pumping and keep you guessing from the beginning of Act II to the final cut to black. Crossing into different sub-genres of horror, this movie will capture your attention every moment and catch you off guard every chance it gets. Although there is no scientific evidence for the collective belief that when one sense is removed that the others take over, it does make for a fantastic plot device that will greatly heighten your own senses while watching this efficiently ruthless movie. This is definitely a horror film to experience on the big screen–don’t wait for Prime, Play, RedBox, or HBONow. The most terrifying element of this movie is the feeling of being trapped in the dark. Just as the characters are experiencing the labyrinth that is the home of the intended robbery victim, you will also feel helpless as the terror unfolds in front of your eyes and you have nowhere to hide. Going into this film, you may think it simply a new twist on the home invasion sub-genre of horror, but you will soon find out that there is so much more to this movie than meets the eye. While some films–horror or not–are often guilty of wasting time, especially in the first acts respectively, Sony-Screen Gems’ Don’t Breath is a cinematic claustrophobic rollercoaster that includes one terrifying turn after another. In other news, if you’re looking to buy a house, this film includes some great shots of your next neighborhood in Detroit.

With all their friends gone, three young people are desperately trying to leave the city they once called home. Turning to petty theft and larceny, Money (Daniel Zovatto), Rocky (Jane Levy), and Alex (Dylan Minnette) receive a tip from a local crime boss that there is a house with enough money to get them all out the city. After learning that the home is inhabited by a blind old man (Stephen Lang), the small band of thieves conclude that this will be an easy gig. With the aid of security codes and keys from Alex’s father’s security business, who manages the few inhabited homes in Detroit, Alex, Money, and Rocky plan the heist. After the robbery goes 180 degrees in the opposite direction, this supposedly easy target now has them trapped. And a terrifying realization will have them holding their breath as to not get caught or worse. Two parts home invasion, one part heist, and three parts horror, this terrifying movie will have you on the edge of your seat.

For the sake of not giving anything away in the movie, I am going to keep this review on the shorter side. Sometimes the best horror movies are those that have a very simple premise. And this is definitely one of those. The heist genre is one of the oldest in the cinematic handbook. After all The Great Train Robbery (1903) was the first American film to pioneer composite editing, on-location shooting, and dynamic camera movement. Although not the very first motion picture, it is among the first and considered by many to be the first commercially successful motion picture. Early on in the dawn of commercial cinema, horror was quite prominent, thanks to Carl Laemmle who founded Universal Pictures. Don’t Breathe includes elements from many different films in the official sub-genres of horror; but to explore each of those would give away some terrifyingly morbid plot twists in the movie. The point is, this film borrows from both horror and non-horror films that helped to forge the foundation of commercially successful cinema. It’s of no surprise, after watching it, that is will likely do very well this weekend. Given that it has an August release date, I was concerned that–as good as it looked in the trailers–that it would not play out very well because the best horror films, this time of year, are released in latter September and October to make way for Halloween! But, I was totally wrong; I thoroughly enjoyed the experience. Speaking of Halloween, this movie would make an absolutely perfect addition to Universal’s Halloween Horror Nights next year if they can secure the rights from Sony Pictures.

Regarding the location of the film, this is just the latest in horror films (as well as other genres) to use the motor city as the backdrop for a violent story. As a producer, myself, I realize that part of the draw to that location is the simple fact that it is incredibly cheap to shoot there. The other part is that it effortlessly sets up a feeling of uneasiness from an aerial shot of the city or suburbs. Not entirely sure that having horror films and other violent movies set in your city, now in ruins, will do much for inspiring entrepreneurs or other professionals to relocate; but it does showcase the city as a welcoming place for filmmakers who seek to pursue their respective dreams of success at visual storytelling. Ghost towns have often been used in westerns, horror, and treasure hunt movies; and without having to go to a foreign country, there really is a perfect modern ghost town right here in the US. Whether it needs to serve as a location that symbolizes greatness in ruins or to instantly prompt apprehension or unbalance, it is a diverse landscape upon which to build a story.

Just when you think the film is over, it will throw you for a loop! Looking for a fantastic film to watch on a date or with your friends this weekend, then I highly recommend Don’t Breathe. It’s the perfect film to usher in this most macabre time of year. Not defaulting to gore and jump scares, this movie is a beautifully and meticulously crafted work of cinema that will genuinely cause your blood to race and keep your senses on edge.

Reimagining Halloween in the Parks this Year: the Mind of Horror v. the Eye of Terror

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After taking break from posting last week, as it was a holiday, I am happy to provide you with another stimulating article once again on the themed entertainment industry! All week long, I have been thinking about what to write this week. I’ve covered some of the recently opened or previews of attractions and theme parks opening soon; but, I thought that I would take a slightly different approach this week. Over the last year, the United States and other countries have been experiencing a rise in violence. Whether that violence has (1) always been there, but because of the great mediation of society (a proliferation of media capturing devices and distribution outlets), we simply see it more often or (2) if there truly is a signifiant rise in mass violence compared to past decades, is not what I am here to discuss. I would, however, like to discuss the upcoming Halloween events in the parks this year, and specifically, how they might have to adapt or change as a result of the recent mass shootings.

HHN2016Already, Universal Orlando has alluded to the fact that it may be revisiting some of its offerings for this year’s Halloween Horror Nights (HHN), and it would not surprise me if Busch Gardens Tampa Bay makes a similar decision with Howl-O-Scream (HOS), as both parks primarily draw from the Central Florida area and of course tourists still flock to the parks for the annual celebration of the macabre. The recent massacre at the Pulse Night Club will undoubtedly have an affect upon the planning and logistics of primarily HHN followed by HOS to a lesser extent. Since the horror film, and by extension the haunted house attraction (or scare zone) are both grounded in the same anthropological (inclusive of sociology) and psychological theories, there is definitely an opportunity to explore this area of themed entertainment. As Disney’s Mickey’s Not So Scary Halloween Party and SeaWorld’s Spook-tacular do not include glorified violence or death, I will not spend time analyzing how those events may change, because they are mostly benign. Suffice it to say, there will likely be some changes coming to HHN and HOS this year. What are those changes? Well, I am not prevued to those decisions; but can extrapolate from logic and theory what may happen in light of recent events in Orlando and beyond. It is important to note that both Universal Orlando and Busch Gardens Tampa Bay mostly likely have to revisit some of the scare zones or houses this year but not implement changes that may have a negative affect upon drawing from guests outside the Central Florida area. Striking a balance between curtailing some of the violence in respect to those who died and still satisfying those who were not emotionally or psychologically impacted is the key.

HOS2016The events certainly still have to feel like Halloween but perhaps reimagining some of the offerings will aid in finding that delicate balance. It is entirely possible that many who have enjoyed going to HHN and HOS in the past may back off this year in an effort not to come face-to-face with violence as it has greatly impacted many people. Here’s an interesting question: does horror have to be violent? Yes and no. Some of the greatest horror movies of all time are not terribly violent at all, but the eye witnessing violent acts certainly creates terror in the minds and bodies of the audience (or park guest). Alfred Hitchcock once said, “there is no greater threat than an unopened door.” This is indicative of the master of suspense’s ability to generate the fear of something or someone that may not even be a threat. There is another Hitchcock quote (or, at least I believe it’s Hitch) to the effect of “greater is the fear that’s in the mind than on the screen” (if you know of this exact quote, please let me know). That being said, likewise, seeing Freddy, Jason, Leatherface, or Michael is equally terrifying because of the trademark violence they have displayed on the screen over the years. It is important to year-round or seasonally operating Halloween-themed attractions to include both the physical and psychological/emotional aspects of horror in order for the guests to have a dynamic and full experience facing that which terrifies them and from which guests would otherwise run away.

unheimlichThroughout history, from the fights in the Roman Coliseum to Michael Myers’ slaying of people in Halloween, audiences have been both entertained and repeatedly drawn to stories and shows that highlight horrific acts of violence or feelings of terror and anxiety. Perhaps there is a deep seeded reason as to why millions of people find entertainment value in horror films. This question has been tackled by many psychiatrists and psychologists, each has come up with a different explanation as to “why horror?” Most notably, famed psychiatrist Sigmund Freud provided great insight into an explanation of why people find horror films fascinating in his essay on the Uncanny.  In his study on the uncanny, Freud takes on the literary imagination (this same literary analysis can and is used to analyze film and themed entertainment) by dividing his theory up into three sections. He first defines the concept of the uncanny, then performs an examination of the context required for understanding the experience of the uncanny, and finally explores the affects of the uncanny on the psyche through literature and fiction. Some of the running themes throughout his essay are loss of eyes, castration, the double-ego, and self-reflexivity. Through the framework laid out by Freud, scholars and film critics can explore the themes in horror film as it relates to the human subconscious; and for purposes of our discussion, the horror attraction.

Freud explains the realm of the uncanny as the place at which aesthetics and psychoanalysis merge, because it deals with a particular feeling or sensation combined with emotional impulses. The substances or manifestations of the uncanny are elements that are fearful and frightening. Proceeding with Freud’s definition of the uncanny being a class of frightening elements, plaguing the psyche, ushering an individual back to what is familiar (heimlich) and known (as opposed to what is unknown). Freud refers to the uncanny as that “which should have remained secret and hidden, but has come to the light.” Furthermore, he goes on to further describe the uncanny as the “mark of the return of the repressed.” The concept of the uncanny is a type of unwilling or mistaken exposure to something surprising, unexpected, or horrific. Freud claims that the source of the uncanny in literature is the recurrence of something long forgotten and repressed. However, not everything that returns from the psychic depths of repression is uncanny. The mere return of repressed feelings and experiences is not sufficient for the uncanny to occur. It requires something repressed having returned but represented by an unexpected and outside the realm of reality. This is easily accomplished in literature (and by extension, movies, theme park attractions, and plays) because fantasy is different from reality.

Just because something works as uncanny in a work of literature doesn’t mean it can work in real-life as well. During times of tragedy felt by an entire group of people or nation, the same concepts which work in literature and film may not work as well, for a period of time anyway, in themed entertainment. Within literature, if the author makes a pretense to realism, then he or she opens the door to supplying the story with the uncanny. Often times, the uncanny in literature and film is the projection of the psyche of the central character on another object or person combined with a warped view of the objective and subjective of a given situation. It’s like something within the fictional world creeps into the real world. Within the horror genre, there are many different stories or narratives that exist. And, each type of horror film tells its story in different ways; however, they are all concerned with getting the same emotional response from the “people out there in the dark,” as famously stated by Norma Desmond in the timeless film noir classic Sunset Blvd. Sometimes the audience will go on a journey into the crazed mind of a psychopathic serial killer or they may witness a supernatural monster terrorizing a small Bavarian village. In either case, Freud believes that the writers of horror, and by extension themed entertainment designers, are concerned with exposing the audience to “other” scenes. And, these “other” scenes are rooted in the subconscious.

eyeofhorrorMoreover, Carol Clover also provides insight into the fascination with the horror theme park attraction. After all, horror films and theme park attractions are mostly concerned with what you actually see. Horror attractions, much like their movie counterparts, are visual stories that are translated into experiential narratives. The Halloween themed attractions in the parks have to include different eyes. The three principle types of eyes used in horror attractions are the assaultive gaze (active, penetrating), reactive gaze (passive, penetrated, the most common in horror storytelling), and repeated gaze (masochism for characters and spectators alike). This is one reason why extreme closeups (ECU) of the eye are popular in horror films turned attractions. The eye is extremely symbolic in narratives driven by fear. The design of horror attractions and films is extremely fascinating because of the convergence of visual storytelling and engineering. It’s more than blood, gore, screams, and knives; there is almost a poetry behind it. A brilliantly insightful quote from Clover is, “Inasmuch as the vision of the subjective camera calls attention to what it cannot see–to dark corners and recesses of its vision … and what might be … just off-frame–it gives rise to the sense not of mastery but of vulnerability.” At the end of the day, both HHN and HOS highlight our vulnerability and prey on our fears of that which assaults the eye and should remain hidden.

corridorBut what about HHN and HOS this year? Looking to the past, and how Universal Orlando handled mass violence in society that had a profound impact on a group or whole culture of people may help shed light on what might be expected this year. During HHN XI (2001), Universal Creative pulled Eddie, the chainsaw wielding maniac with a complex and fascinating backstory, from the lineup after the attacks on 9/11/2001. It was decided that the mood of the United States was such that it would have been in poor taste to include such a violent icon in the theming. In addition to the removal of the HHN icon, most signs of blood, gore, and the glorification of violence were removed–even names of characters and zones were modified. Because of the recent deaths of nearly 50 people (some of whom were connected to the parks as employees, bloggers, or past performers), we might witness a similar reimagination of events at Halloween Horror Nights and Howl-O-Scream this season. Hopefully, I have been able to open a discussion on how things could be reimagined at the annual Halloween events this year. An attraction can be equally terrifying even if there is no violence to be seen. However, the inclusion of cliche horror film violence is an integral part of the modern Halloween attraction experience. Even Carol Clover explores the importance of men, women, and chainsaws in horror storytelling. Perhaps the creative engineers and designers at the parks will look beyond what has typically been a staple of these events and embrace other avenues of terror that will still prompt screams. In all likelihood, we will probably see the dial turned back on the knives and guns during HHN and HOS but that certainly does not mean that the attractions will be any less terrifying. It’s entirely possible that the mind of horror will outweigh the eye of terror in the theming, planning, and design of HHN and HOS this year.

“The Purge: Election Year” movie review

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PurgeElectionElection results are in! Get ready once again for this year’s annual purge. From Universal Pictures and Blumhouse, The Purge: Election Year is a cinematic rollercoaster of espionage, action, revenge, campaigns, and of course the trade mark unbridled violence. Horror is one of my favorite genres to discuss because this genre often includes fantastic themes and subtext that act as social commentary on gender, politics, religion, economics, sex, or technology. Going into this movie, I was already prepared for the political themes, but there are many more themes for one to discuss with this film. In many ways, I am not even sure how to proceed with analyzing it. Cinematically, or from a technical perspective, the movie is fantastic. Yeah, a little campy at times but that is par for the course. Contains just the right amount of comedy, albeit dark, to balance out the darker or heavier elements. The fact that this movie is truly prompting me to think about its content is fascinating. Often times, I have a good idea of how I am going review a movie while I am driving home from the theatre; but this one is definitely requiring me to think about it more than I typically need to. I suppose that entire articles could be written on any one theme in the movie, but I only have 1000-1500 words to analyze it. Haha. The biggest question is whether or not this movie is actually counterproductive.

Two ideas of how life should be in the United States are at war, or at least that’s how it plays out on the debate stage. Minister Edwidge Owens (Kyle Secor) and Senator Charlie Roan (Elizabeth Mitchell) are going head to head over the purpose and necessity of the annual purge as started and supported by the reigning New Founding Fathers of America (NFFA) regime. Just two days before the annual event, the NFFA makes the decision not to exempt anyone, not even government officials ranking 10 or higher, from this year’s purging. After an inside job threatens the life of Senator Roan in her own home, she and her trusted chief of security bodyguard Frank Grillo (Leo Barnes) must seek safety. With only Senator Roan standing in the way of the NFFA winning another election, the NFFA and hires assassins will stop at nothing until she is defeated. After a chance meeting with supporters of Roan, Frank and Senator Roan team up with the small band of rebels to survive the night at an attempt to end the chaos and win the election.

Although the first movie did not exactly have much in the way of social commentary themes beyond greed, Purge: Anarchy and this present installment are certainly drenched with rich themes that could fuel discussions for hours. One could surmise that the principle theme of the second installment in this thriller franchise was rich v poor. A very apropos theme considering the US economy was only-then emerging and beginning to grow from the worst financial crisis since the Great Depression. Walking into this movie, I was prepared for political themes; but politics was only a principle element in the plot by extension and used as a highway to get from beginning to end. Not even in subtext, but the predominant theme of Purge: Election Year is clearly white v black. I find this concept and theme is dangerously and carelessly carried out because it really serves to perpetuate the idea that there is a difference between whites and blacks in the Unites States. Instead of the movie showing audiences what could, albeit unlikely, happen in a future America if not challenged or changed, it serves to add fuel to the fire that there is a difference. Furthermore, I find that the movie is unfair to both whites and blacks. It’s unfair to whites because it shows most of them having a hatred from blacks and nearly unanimously in favor of the purge while it depicts the predominant demographic of violent offenders as blacks. Now, I am sure the intention of the movie is not to be counterproductive or perpetuating a negative idea, after all it is produced to be entertaining; however, it’s difficult to watch the movie without wondering if it really is counterproductive in message and theme.

Beyond the social commentary on white v black, the movie also spent a lot of time on the perversion of organized religion. Although the religious aspect to the NFFA was included in the previous installment on a minor level, Purge: Election Year spends a great deal of time connecting a perverted organized version of warped Christianity (very much Catholic or Anglican in structure) to the driving forces behind the NFFA’s passion for and dedication to the annual purge. Just like I feel that the producers and writers of this movie crossed the line with the white v black violence, I feel that this version of organized religion only serves to perpetuate the idea that those in organized relation (mostly Christianity) are hate mongers. Obviously, most people know that this isn’t the case; however, that idea is certainly out there because of differing views on some socio-political areas of community and life in general. Perhaps the movie is commenting on how different groups of people may perceive one another. If that is the case, then the groups of people depicted in the movie can gain a better understanding of how an opposing side views them. Sometimes seeing your actions through another’s eyes helps to ignite positive change. I think that is a beauty in a film like this. It can be read in so many different ways and dissected to support one theme or another.

Quite the antithesis of the U.S. holiday most will be celebrating in one way or another this weekend, The Purge: Election Year paints a picture of a fractured country. In light of the recent massacre at Pulse in Orlando and other massively violent acts around the world, I am not entirely sure how well this movie will do over the weekend. Certainly around here, it may not be well-attended since I live in the Central Florida area and have been there many times myself. Universal Studios Florida is even revisiting the inclusion of The Purge as a house at this year’s Halloween Horror Nights. If for no other reason, this movie stirs may emotions whether they are motivated by race religion, or socio-economics. Like with most horror movies, I suggest watching this one with a friend or two. That way you can have fun discussing it afterwards.

“Skull Island: Reign of Kong” Theme Park Attraction Review

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IMG_5531“What’ve they got in there…King Kong?” (Malcolm, Dr. Ian 1993). That is precisely who you will encounter on your expedition into the jungles of Skull Island at Universal Studios Islands of Adventure this summer! Fortunately, I was able to take part in a soft opening on Saturday afternoon and am able to share my thoughts with you. The presence of King Kong at Universal Orlando Resort represents a long awaited triumphant return ever since Revenge of the Mummy took the place of Kongfrontation at Universal Studios Florida (original park). Although the ride design is completely different than the previous attraction, it is exquisitely designed and integrates trending themed entertainment attraction technology with practical effects and animatronics. From the queue to the ride path itself, you will be completely immersed into the dark and frightening world of Skull Island. Along your expedition, you may encounter prehistoric-sized creatures, the dead, and maybe even the undead.

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IMG_5512For those who have been hanging in and around Islands of Adventure for the last week, you may have had the opportunity to partake in a soft opening of the highly anticipated attraction. If not, definitely plan a trip to the park soon in order to experience the newest attraction (although, the Hulk coaster is reopening soon). What I appreciate most about Skull Island: Reign of Kong is the attention to detail, experiential storytelling, and production design. As an entertainment scholar, I was incredibly impressed with the ability to see horror film theories and frameworks woven throughout the experience. Now, is that something that the typical park guest is going to notice? Probably not. However, the fact that feel that I am going through the diegesis of a horror film serves as empirically-based observational evidence that the ride meets the expectations of both spectacle and narrative. As I mentioned on Twitter, the writings of Freud, Carol Clover, Geoff King, and Linda Williams are alive and well!

IMG_5445The experience of the attraction begins even before you enter the queue. As you gaze upon the exterior design of the attraction, you will begin to feel drawn into the world of Skull Island. What lies beyond the massive 100% to scale gate? Once the thoughts of feeling compelled to venture into the jungles behind the gate enter you mind, you will have no choice but to sign up for the next expedition. If you have been to a Disney, Universal, SeaWorld, or Busch Gardens theme park, you are already familiar with the theme and story of the attraction beginning at the queue. The Reign of Kong queue is full of creative design to capture your attention and compel you to further descend into the dark catacombs. Prior to entering the indoor part of the queue, the outside is lightly themed with bamboo, greenery, and some rock formations. Thankfully, you have a great view of Kong’s massive stone gates. The heaviest of the queue theming begins once you enter the catacombs.

IMG_5515It’s not called Skull Island for nothing. Between the entrance to the catacombs and the loading platform, there are hundreds if not thousands of skulls within the rock walls and openings. This is where I can really infer the adherence to horror film theories explored and defined by the scholars I referenced earlier. Just like going to see a horror film with the foreknowledge that voluntarily subjecting oneself to terror is part of the experience, the same can be said about this attraction. In Freud’s writings on the principle of unheimlich or what we refer to as the uncanny, he explains that we are psychologically drawn to that which should otherwise remain hidden. Certainly skulls of the dead are items that should remain hidden beneath the earth; however, they possess an attraction that begs for one’s attention. Moreover, scholar Carol Clover writes prolifically on the concept of the unpleasurable pleasure. What does she mean by that? This concept is a framework through which to view why we are drawn to that which would otherwise terrify us. In real life, if you were to see a foreboding cavern filled with low-key lighting and the remains of the dead, you would most likely run IMG_5526away. But since we know that this is a ride at a theme park, we are totally okay with venting further and further into the dark now knowing what awaits. Because we are aware that we are in a safe zone, it’s okay to experience otherwise unpleasurable sights and sounds. Just like going to see a horror movie. Both Linda Williams and Geoff King write on similar topics and theoretical frameworks that deal with spectacle, pleasure, and attraction. The sheer spectacle of the queue is enough to beckon anyone; and from the radio announcer, 1930s music, and witch/priestess’ frightening words, there is a coherent and steadily flowing narrative throughout the attraction queue. Even if you have never heard of King Kong (I know, that is doubtful), after passing thousands of skulls and listening to the witch-priestess chant in an unknown language about Kong, that plus the fire and cavernous rumblings tell you that Kong must be powerful and terrifying. Even after the witch-priestess causes fire and darkness, do you turn back? Of course, not!

IMG_5528One of the most interesting additions to the queue concept that has never been done before, except during Halloween Horror Nights (HHN) is including entertainment team members commonly known as scare-actors. Scare-actors are entertainment cast, in themed costume, whose goal is to frighten you with a classic jump-scare. Ordinarily, this is something that is only done during HHN since everyone who has come to the event is there with the intention of being scared. Interesting to use the same concept on a daily operations attraction. But, this is a frightening attraction and setup very similarly to a horror film. So, looking at it that way, it is a logical progression in queue development to include live performers who can increase the scare factor. IMG_5527Additional animatronics are also integrated into the queue in order to heighten the sensations of terror among the park guests. After meandering and wandering through the catacombs of Skull Island, you finally locate your ride vehicle and driver who is going to take you on an expedition beyond the stone gate. Following picking up safety glasses in order to protect your eyes from harm–oh the irony–you board the expedition vehicle. After riding in the front row on the the truck, I would advise not sitting there. So often, row one on a ride is the best no matter what is said about every seat providing an equal experience; however, on this attraction, I would advise sitting in the middle or back if at all possible.

KongVehicleThe ride vehicle at Reign of Kong is massive. It seats up to 78 park guests. So, the benefit to that is moving large crowds efficiently and quickly. Of course, there was no Express Pass queue during the soft opening, so that will definitely mitigate the efficiency and speed of loading standby (or standard queue) guests once it officially opens. At first, I thought the driver was real! The driver moved naturally and in a non-robotic fashion. Turns out that the drivers are, in fact, animatronics! Just goes to show the quality of immersion, storytelling, and theming went into Kong. The image in this paragraph is from publicity photos and shows a real driver; but the animatronic driver sits right up front behind the wheel. So Cool! Once you leave the IMG_5510loading dock, you proceed through the catacombs and outside to the pathway leading to the colossal stone gate. Unlike the forced perspective that is often found in the Disney and Universal parks out of logistic and engineering necessity usually, the King Kong gate is full scale. In many ways, you will feel just like Jurassic Park’s Malcolm when the doors open and you venture out into the wilds of Skull Island. During rainy weather, the attraction designers paved a way for the vehicles to bypass the gate which does take away from some of the initial impression but ultimately will not negatively affect the park guests’ experience on the ride.

SkullIslandBatHaving experienced the Kong attraction as part of the famous studio tour at Universal Studios Hollywood, I was very interested to see how that same technology was integrated into this stand alone attraction in Florida. Although the rides are not identical, Skull Island: Reign of Kong at Islands of Adventure borrows heavily from the Universal Studios Hollywood counterpart. After proceeding through the stone gate, you will encounter prehistoric sized creatures over head and on the ground. You won’t be able to ignore the giant gorilla skull and bones just inside the gate. As your driver is working on his or her PhD, you will have the opportunity to Kong_T-Rexmeet some of his or her colleagues in the field along the expedition. As to not spoil the actual ride portion of the attraction, I will not go into too much detail but provide more of an overall analysis of the storytelling. As I have written in previous articles, a theme park attraction based on a work of literature or creative media is essentially a short film. It has, say 3-5mins (sometimes longer if it’s a show) to take the park guest through a three-act story. Paralleling the plot structure of a movie, Reign of Kong provides an exciting story for those who dare to explore the jungles of Skull Kong_AnimatronicIsland. You have a well-defined beginning, rising action, crisis, showdown, and denouement. Although my ride experienced a technical glitch on one of the 3D screens, it did not significantly take away from the enjoyment and thrill. There are many elements I like about the attraction, but I was hoping for more practical effects and animatronics than proliferated 3D screens. Still, the visuals are fantastic and do an excellent job of immersing you into the wilds of the ancient jungle. I cannot be certain, but I believe one of the video sequences is taken from the Hollywood counterpart attraction.

IMG_5519Best part of the experience awaits explorers just before disembarking. I won’t tell you what it is because it will ruin the surprise. But, I will tell you that it is truly a welcoming and beloved echo from the past. Theme park technology and what the modern guest is looking for may change over the years, but some things remain a constant. Being a fan of theme parks turned scholar, I greatly appreciate the closing scene on the ride. I was even a little teary-eyed when I rounded the final corner. Whether analyzing Skull Island: Reign of Kong from an objective or subjective perspective, it is clear that the attraction is and will continue to be a huge success for Universal Orlando Resort. Excited to ride it again!