![]() ![]() 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. 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. These experiences have always been harmful, and it’s an insidious outcome of white privilege to be blind to it. 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. As you eyeroll at the corny humor of your Jungle Cruise skipper, your boat bobs around a corner and to a horrifyingly racist vignette. The soft-focus memories of Dumbo crash up against the knowledge that the lead crow is quite literally named Jim Crow. 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. 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.ĭon’t get us wrong: we are, no matter how fond our memories are of Splash Mountain, heartened to see Disney take this step. Their intentionality around Expedition Everest as well as core elements of the original Animal Kingdom demonstrates it can be done. To give them their due, Disney also has amply demonstrated they know how to concede curatorial authority, as it were. Just like any of a number of other resorts, rides, shows, and exhibitions around the U.S., not to mention the world. ![]() 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. 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. 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 ). because it effectively flips the legacy model of content being customized to a distribution channel to distribution being optimized to what a particular piece of content deserves to maximize its economic value," Barclays analysts Kannan Venkateshwar and David Joyce said in an investors note.First, it was the rework of the Redhead in the Pirates of the Caribbean ride. "The implication of separating distribution and content is significant. Maral, who rates the stock sector-perform with a $124 price target, added that the investment firm is "incrementally more bullish” on Disney’s new structure.īut he added that an improved streaming outlook “is invariably accompanied by expectations for accelerating pay-TV declines and linear ad revenue pressure." RBC Capital Markets analyst Kutgun Maral said the move to streaming will “sound alarm bells” for peer media companies that have yet to pivot toward streaming. He added that the changes “will further accelerate the shift to streaming and direct to consumer.” Rosenblatt Securities analyst Bernie McTernan said the move was “likely inevitable” but is a positive. ![]()
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