A Preview of Theme Parks Tomorrow, Today

How Orlando’s reopening attractions can give us a view into designing guest experiences for the future.

 

As most of us in the attractions industry have discovered, it is very difficult to predict how the effects of COVID-19 will affect attractions in the future. What will guests both expect and feel comfortable with as we navigate the years ahead, and how will attractions respond to the evolving needs of their audience? These are valid questions that will have profound results within many different experiential and guest-focused attractions.

As the Orlando attractions market begins to carefully reopen amid a vast array of both uncertainty and cautious optimism, I had the opportunity to visit some of these attractions to see these responses first-hand. In many ways the experience met or exceeded my expectations of what could be done by operators in terms of safety and assurance. 

What surprised me, however, was just how much I would learn concerning the evolutions of guest interaction, and how a global pandemic might be the catalyst for challenging ideas we have long seen as principles and standards of both attraction design and operation. The experience, as a whole, left me encouraged by the level of guest participation in an evolving environment, while inspiring some ideas as to how we can rise to the challenge of delivering new and engaging experiences built for a post-COVID world.

First, the expected: It is a given, considering the reality of the situation, that many levels of sanitary practices and sanitization would be adopted. At all three major attractions, Disney, Universal, and SeaWorld, both guest-facing elements like hand-sanitizer and hand-washing stations, and backstage elements such as ride vehicle sanitization, were standard and obvious. While all of these were currently temporary additions within the theme park, one can expect that thematically appropriate versions of each of these will soon become a permanent fixture in any key spaces in parks and attractions where contact is unavoidable.

There were some more subtle changes as well. At the Disney parks, for instance, each of the trash cans had their lids secured open with zip ties, a move to protect guests from touching a potentially contaminated surface. I wonder if this will be a temporary change, or if we will eventually see a change to the decades-old and ubiquitous “theme park-style” trash can. 

Where I expected some friction was with social distancing. “Surely, this is going to be the sticking point,” I thought. I was floored to find that not only were guests fully participating in the social distancing six feet of separation or more rules posted, but guests were turning it into a game. I saw countless guests who were entertaining themselves by standing on each distance indicator as if it were a position on an oversized board game. Even where there were not clearly identified markers, guests self-determined the need for distance between groups in both pre-shows and queues. Throughout my experience, I had many conversations with other guests who felt that the social spacing, and NOT the overall level of crowds, was the main contributing factor to what they considered a pleasant experience. It is a fair hypothesis, however it is hard to tell if this would still be true on the busiest of operating days.

A change in cast member distribution was also evident throughout every type of experience. From food & beverage through load stations and queues, cast member positioning was adapted to assist guests with separation and sanitation. Though, as an unintended benefit, the changed positioning actually seemed to help guide guest movement better and felt closer to the regular cadence of helpful personnel one might expect to encounter in a hotel or hospitality setting. It may not have been the most operationally efficient, but the impact on guest experience was exponential.

Another interesting development was the level to which guests were adopting mobile services as their main interface for payment, ticketing, and more. There seemed to be little to no friction with digital park maps, and the recent shift to mobile-only ordering for food & beverage at the Disney and Universal parks did much in the ways of reducing the need for queue lines or large waiting areas in front of locations. In several instances, I saw guests utilizing mobile features in queue lines as a game to pass the time and enhance their experience. Queue lines in general just seemed to function better and were more engaging once guests understood that they wouldn’t stand in one spot for more than a minute or so. At the Disney parks, no attractions were currently offering FastPass+ (Disney’s virtual queue reservation system) and I didn’t hear a single complaint. Not one.

What I saw on my recent visit was just a snapshot in time of an evolving situation. Certainly there are some extraordinary elements that need to be considered. However, what I did  see was an evolving image of guest preferences and behaviors in relation to an adapting theme park environment, and the results were not just promising in terms of participation, but revealing in how we can design spaces within attractions that actually give guests the things that matter to them. Should we rethink the amount of space we give groups for pre-shows and theaters? Break single queues up into multiple pathways that encourage constant flow and movement? Design newly integrated elements for rest, hygiene, and hospitality? All of these are interesting considerations we can take as we design both safe and satisfying experiences for tomorrow’s attractions.

All Your Favorite Attractions Are Problematic

First, it was the rework of the Redhead in the Pirates of the Caribbean ride. Now, Disney has announced that they will be replacing Disneyland’s Splash Mountain with a Princess and the Frog themed attraction, which picks up after the end of the movie and weaves a new story (akin to the Frozen ride reskin of Maelstrom at EPCOT, versus the movie recap experience of Little Mermaid: Ariel’s Undersea Adventure).

Red Head Pirate at Pirates of The Caribbean at Disneyland Resort

Obviously, no matter what warm, fuzzy memories we have of Splash Mountain, no matter how much Disney tried to round the edges of the overt racism, the reality is, it’s based on such a stupendously racist and white supremacist storyline that Disney refuses to air Song of the South and so boy howdy was it beyond time for it to go. One of the chief problems we encounter as creatives in location-based entertainment is this clash of memory, “that’s just how it was back then,” “it will cost so much/upset the fans to change it” versus the knowledge that it’s harmful and needs to change.

We get it. It’s an investment. A huge one. Just like any of a number of other resorts, rides, shows, and exhibitions around the U.S., not to mention the world. To give them their due, Disney also has amply demonstrated they know how to concede curatorial authority, as it were. Their intentionality around Expedition Everest as well as core elements of the original Animal Kingdom demonstrates it can be done. Joe Rohde, in his talk at the 2012 THEA awards by the Themed Entertainment Association spoke at length about the Aulani design process, how authenticity and respect were placed ahead of ease and preconceived notions, and actually how easy design decisions can be when they are strongly rooted in authentic, clear direction informed by the actual people and place and not one’s own hot take on the source material. 

Don’t get us wrong: we are, no matter how fond our memories are of Splash Mountain, heartened to see Disney take this step. Reworking Splash Mountain is also an absolute rabbit hole (pun not really intended) because once your eyes are opened to the ways – both subtle and categorically unsubtle – that racism pervades narrative tropes and beloved experiences, it’s overwhelming. The soft-focus memories of Dumbo crash up against the knowledge that the lead crow is quite literally named Jim Crow. As you eyeroll at the corny humor of your Jungle Cruise skipper, your boat bobs around a corner and to a horrifyingly racist vignette. It goes on and on: Peter Pan’s original source material was dizzyingly racist about Indigenous people and the ride does not shy away from it; the Enchanted Tiki Room falls into the trap of so much white-washed, culturally-appropriative Polynesia theming; the European children on It’s a Small World are white as can be (and there are Middle Eastern kids on flying carpets); the Africa outpost in Epcot reduces a vibrant swath of an entire continent to a beverage stop, trinket market, and a few drums. These experiences have always been harmful, and it’s an insidious outcome of white privilege to be blind to it. Once you see it, you cannot unsee it.

This isn’t just a Disney problem. This is an everywhere problem. Racism is everywhere. The normalization of racist tropes is everywhere, from what we collect and how we display it in museums to countless “Wild West” zones in amusement parks to big iconic experiences like Splash Mountain, and thousands of moments in between. We are guilty of it in our body of work, too – there are projects we’ve worked on that, in hindsight, we should have done a little differently. When it comes to what stories are told in our parks and our museums, a large part of that is who’s had a place at the table, for the majority of our industry’s history, to make creative decisions, to greenlight and fund projects, to decide what has value or make a team pause and take stock of what they’re really saying with the stories they’re telling and how they’re telling them. It’s affected by processes and policies, too. At Thinkwell, we’re keenly aware that no matter how good our intentions in the past, we have fallen short at times, and it’s on us to examine what we do and how we do it to ensure we don’t perpetuate racism in our work.

Splash Mountain Drop Down Into The Briar Patch at Disneyland Resort

The harmful experiences in location-based entertainment of the past 20-30 years that we cannot unsee weren’t done out of a ‘let’s be racist, it’ll be great!’ mentality. We’re not condemning the creative minds behind these places or experiences. It’s unlikely that the team behind Port Orleans Riverside, as they designed cast member costumes in time for its 1992 opening, thought through the ramifications of their choices in a resort designed to evoke the grand “big houses” of plantations in the Louisiana Bayou (in fact, the resort was initially named Dixie Landings). But the reality is, their ‘mousekeeping’ staff is largely BIPOC (Black, Indigenous, and People of Color), and they’re wearing outfits evocative of enslaved people who were assigned to “the big house”’ on a plantation. If you want a real wake-up call moment, stand on one of the lovely, immaculately landscaped paths in the beautiful antebellum south themed resort at shift change, and watch the staff emerge from the stately, pillared houses.

The re-envisioning of Splash Mountain isn’t reactionary: it is another step in a major, beloved, respected company’s commitment to do better, even at the expense of angered fans and significant capital expenditure. In the current economic climate, spending money to redo existing things probably doesn’t sound like the best plan. But we are the makers of dreams. We are the creators of heroes and villains, we breathe life into whole new worlds and reinvigorate beloved places. Why shouldn’t we spend the time, effort, and yes money, making the places we already have welcoming and inclusive? Why shouldn’t we say ‘this is racist, and it’s wrong of us to keep putting it out there for the public as entertainment or something to aspire to, so we’re fixing it’?

Congratulations to Disney for acknowledging it’s time to change. We look forward to seeing what they – and the rest of the industry, ourselves included – tackle next.


 1. Except in Japan, as that park is not owned by Disney and thus they do not have direct control over its content to make a change such as this.

Writing Rollercoasters: Stories, Spectacle & Games in Physical Places

Hear one of the world’s leading experience designers Dave Cobb talk about the future of physical space, how we’ll interact with each other, and the role of gamification in creating engagement. From retail to amusement parks, and from public spaces to universities, the gamification of the physical world promises to unlock new and exciting ways to socialize, interact and explore. Get inspired and find out.

Writing Rollercoasters: Stories, Spectacle & Games in Physical Places

Hear one of the world’s leading experience designers Dave Cobb talk about the future of physical space, how we’ll interact with each other, and the role of gamification in creating engagement. From retail to amusement parks, and from public spaces to universities, the gamification of the physical world promises to unlock new and exciting ways to socialize, interact and explore. Get inspired and find out.

A Theme Park in Your Pocket: Consumers Trends in Mobile Technology Integration in Theme Parks

Thinkwell’s findings of their nationwide survey analyzing behavioral patterns as they relate to existing and potential mobile integration into the theme park experience is illustrated in the infographic below. This survey marks the launch of Thinkwell’s Guest Experience Trend Report, which provides market research insights to the themed entertainment industry. The annual report measures and distills consumer interests in varying topics related to guest experiences.
Thinkwell's 2013 Guest Experience Trend Report Infographic
The survey, conducted among more than one thousand theme park goers, found that 67 percent of the respondents are interested in seeing increased mobile integration at theme parks, because it would improve the overall guest experience.
Of those surveyed, 80 percent took a mobile device (a smartphone and/or tablet) on their last theme park visit. Among the respondents who took a mobile device, a full 72 percent spent “a few minutes on and off throughout the day” engaging with it. Fifteen percent revealed that they did not use their mobile device during their theme park visit, although they did take it with them.
“Mobile technology is ubiquitous and theme parks have to embrace this ‘distraction’,” says Craig Hanna, CCO, Thinkwell. “We are continually looking for ways to keep guests engaged in the ways that they want to be engaged, utilizing these devices to improve the guest experience or interact with visitors in new ways that enhance the parkwide milieu.”
The survey participants were asked to rank a series of mobile features and enhancements from most to least desirable. The most popular features were more customer service-oriented, helping visitors save time, including front-of-line access to rides, shows and attractions. The respondents also highly ranked having the ability to check queue wait times from anywhere in the park, using GPS to locate friends or family members and using a mobile device to plan an itinerary.
Predictably, as mobile devices have replaced traditional cameras, 78 percent of participants took photos with their smartphones and tablets. Forty-four percent shared their photos on social media. Reluctant to cut-off communication with the outside world, 43 percent talked to or texted someone, 43 percent checked their e-mail and 29 percent kept up on social media.
Qualifying participants were United States residents over the age of 18, who had visited a theme park in the past 2 years and owned a mobile device. Of the 1,034 respondents, 48 percent are male and 52 percent are female. Thirty percent are between the ages of 18-29; 32 percent between the ages of 30-44; 24 percent between the ages of 45-60; and 13 percent are 60 and above. The survey found very little correlation, if any, between age or location and current mobile behavior or interest in increased mobile integration.
Download a printable form of the survey infographic here.