Theme Parks & Themed Entertainment

A JHM Exclusive: Your first look at Universal Orlando’s “Revenge of the Mummy” thrill ride

JHM columnist Seth Kubersky returns with a detailed description of this brand new yet-to-be-officially-opened indoor roller coaster.

Published

21 years ago

March 25, 2004

Seth Kubersky

WARNING!
The following contains spoilers. The following is based on an incomplete attraction, and should not be construed as representative of the final product. The ride is in private technical rehearsals, and is not open to the public. Do not go to the park expecting to experience the ride until the official opening date. Your mileage may vary. Discontinue use if rash develops.

Riding a new ride during “technical rehearsals” is always a dicey proposition. It’s called a rehearsal for a good reason, since major element are often incomplete, and the fine-tuning that separates a good ride from a great one is absent. Over the years, I’ve had the privilege of experiencing some of Orlando’s biggest attractions weeks or even months before the general public, and it hasn’t always been as fun as you’d imagine.

Sometimes it’s an exercise in frustration; my first visit to IOA’s “Spiderman” involved three hours in the queue, climaxing in the building being evacuated when I was a dozen people from the car. Sometimes it’s terribly disillusioning; after my first trip through Animal Kingdom’s “Countdown to Extinction,” I had to ask the attendants when they were installing the dinos (sadly, it never improved much). Occasionally, the first preview is the best experience you’ll ever have on a ride; I’ll never forget how wonderfully nauseating the “Cat in the Hat”‘s spinning cars were at first.

And sometimes, a technical preview can be like a glimpse of future greatness. Like watching the “work-in-progress” version of “Beauty and the Beast.” Yes, the lines are rough, and many of the colors missing. There may even be a mild hiccup in the story (they sing “Be Our Guest” to Belle’s father?). But it’s clear that you are experiencing something magical. You know that you are watching artists at the top of their form, taking everything they’ve learned in the past to create something you and your kids will want to experience over and over. And you know that, given a little more time and polish, it just might change the world.

That’s what Universal Orlando’s “Revenge of the Mummy” is like right now. The rough draft of a masterpiece. And I have every confidence that before the first paying guest steps on it, Universal will make sure it lives up to it’s already-obvious potential.

For anyone who’s been hiding in a theme-park-news-free bunker, “Revenge of the Mummy” (ROTM) is Universal Studios Florida’s new headliner attraction, slated to open later this Spring. A sister attraction is also opening at Universal Studios Hollywood. Both are based on Universal’s “Mummy” franchise, starring Brendan Fraser and directed by Stephen Sommers. They may have the distinction of being the first theme park attractions to be significantly better than the movies they are based on. Ok, maybe second after “Waterworld”.

The Florida version is housed in the building formerly occupied by the much-beloved “Kongfrontation.” Fans of the late great ape, rest assured. Not only does ROTM not desecrate that hallowed ground, it is a more than worthy successor to old banana breath. And, rumor is, you might catch a glimpse of old monkey if you keep your eyes peeled.

Costing a reported $45 million (small change compared to recent E-tickets like “Mission: Space”), ROTM does not radically break new ground in the same way that “Spiderman” did. The basic elements, an indoor roller-coaster with magnetically launched trains, has been seen before. The special effects — ranging from air and water blasts, to flames, to video projections and sophisticated animatronics — are evolutionary rather than revolutionary. But no ride has combined so many of these effects, in such complex synchronization, at such a blistering pace. Universal touts this as a “psychological thrill ride” with good reason. The dominant effect is total sensory overload, an unparalleled avalanche of astounding sights and sensations that will leave you reeling. You’ll exit the ride knowing you missed half of what’s in there, and not believing half of what you actually saw.

The experience starts before you even enter the queue, proving once again that Universal understands how important the entire package is, beyond just the ride itself. Attraction cast members performed a brief “streetmosphere”-style interaction with the waiting crowd, picking out “extras” for a “screen test”, reminiscent of the “Earthquake” preshow. Other employees scurried about with trays of coffee for the “stars”, a gag that carries through the entire attraction. I don’t know if this was solely for the benefit of the employee preview, but I hope it continues, and survives the pressures of the enormous crowds this ride will attract this summer. Bravo to the cast members, who went all out despite being attractions personnel and not actors.

You enter the attraction not through the museum façade, as with Kong, but through the Paradise Theater. This is an epic queue line in classic Universal style, and fitting replacement for Kong’s legendary queue. The initial sections, inside the building that once held the Islands of Adventure preview center, feature props and design sketches from the first two Mummy films.

Overhead video monitors present a Christopher Guest-style mockumentary about the filming of a new Mummy movie. We are introduced to “Reggie”, a bumbling production assistant, and are informed of strange happenings on the set. They also make mention of a mystical symbol that is needed to protect us against the evil Imhotep’s curse.

Unfortunately, the high ceilings, hard surfaces, and chattering guests conspire to make the preshow video almost completely unintelligible. This is a shame, since it sets up story elements that are important to the full enjoyment of the ride. As a sound engineer, I can sympathize with the designers, and I trust they’ll find a way to overcome the lousy acoustics.

After passing through a black, empty room (I assume there is work to be done here), you enter the attraction proper through the old Kong entrance. There are some cages full of props and costumes, and more video monitors. You turn a corner, and suddenly you are inside an exquisitely detailed Egyptian tomb. I was unsure at this point whether we were meant to be on the set of the new film, or if we were “transported” to an actual tomb by Imhotep’s curse. Perhaps the confusion is intentional. It’s a moot point because this section features some of the best scenic design ever seen in a queue. Though not nearly as long, it is every bit as well crafted as the queue for IOA’s “Dueling Dragons,” which is high praise indeed.

Best of all, there are a number of interactive elements to entertain you. A sarcophagus with a handprint engraved on it causes the lights to flicker when touched. A glowing jewel activates air blasts further down the queue, and an adjacent video monitor shows the humorous results (though wouldn’t it make sense for the air blasts to come first?). And, my favorite, a hologram of golden treasure blasts with air anyone foolish enough to reach for it. It’s unclear how much of the queue those using the Express Pass and Single Rider lines will experience, but this queue is well worth waiting in.

Soon, you enter a tall chamber dominated by a huge statue of Anubis. Wooden stairs spiraling up lead you to the loading platform. There is an elevator for those with disabilities, everyone else gets some exercise. At the top, there are twin loading platforms, to your left and right, each accommodating one car. The vehicles, styled like mine cars, feature four rows of four passengers each. The rear rows are slightly elevated, giving a good view to all. The lap bars are unusually tall, reaching from your waist up to your sternum, but comfortable. The headrests are tall but do not wrap around the side of your head.

And away we go! I won’t give a detailed blow-by-blow of the ride. If you want every moment spoiled for you, you can find it elsewhere online. Moreover, I couldn’t give an accurate accounting after one trip through the ride due to the sheer volume of stuff thrown at you. The first time through, even in an unfinished state, is so overwhelming that detached analysis is simply impossible. I will give an outline of the experience, and describe some of the highlights.

WARNING: STOP NOW TO AVOID MAJOR SPOILERS!

Still there? Ok…

We enter a tomb, with mummified corpses strewn about. From the first moment you can tell that great detail has been put into creating a complete 360º environment, with lighting and music to match. A voice (the “Reggie” animatronic is yet to arrive) warns us of Imhotep’s curse. Around the corner, Reggie is turned into a Mummy by Imhotep (another work-in-progress). You are sent into the next room, which is where things start to get really interesting.

An enormous projection of Imhotep offers you riches for your soul, and piles of treasure are illuminated to either side of you. If you refuse, he warns, you’ll die. Mummy warriors appear next to you, lunging at the car (they do not, however, jump on the car). Flames explode around you, and for an extra shock you are sprayed with water. You take a quick turn into a new room, which seems to be a dead end. The wall in front of you suddenly sprouts thousands of scarab beetles, which swarm towards your vehicle. I assume that this projection will eventually be accompanied by a tactile effect, similar to “It’s Tough to Be a Bug,” but for now there is only light and sound.

You are quickly launched backwards down a short hill, and then quickly come to a stop in a rotating room. There is some more threatening from Imhotep, as you are turned to face an enormous hill. At the top of the hill looms Imhotep’s giant head. You are launched up the hill, straight into his gaping mouth.

What follows is the coaster portion of the ride, a giddying minute or so of dips and turns. There are no inversions, and the actual scare-factor lies somewhere between “Woody Woodpecker’s Nuthouse Coaster” and “Space Mountain.” It does have the advantage of being an exceptionally smooth and comfortable ride, with well-engineered turns and a pleasant amount of airtime. Heightening the effect are numerous illuminated apparitions, flickering to ghostly life seeming inches from your head. They may be simple back-lit cutouts, but they are extremely effective, much more so than the tacky black light props in “Rock ‘n Roller Coaster.” Add in the music and sound effects, and this section is far more thrilling that you might imagine the fairly tame drops and banks would be. Don’t let the idea of a roller coaster scare you away from this ride – it’s much more likely to make you laugh with delight than scream in terror.

Before you know it, you are out of the coaster section and at what appears to be the unload station. To your left, you see the silhouette of a ride attendant inside her booth. I believe another animatronic attendant is yet to be installed. You come to a stop, and they thank you for riding the ride, but Imhotep arrives and vaporizes the attendants in mid-spiel. The ceiling above you ignites in a beautiful “brain-fire” effect that will be familiar to those who have ridden Busch Garden’s Escape From Pompeii. You are launched in the final brief coaster section of the ride, similar to the first.

And then… well, I’m not sure. A ride this spectacular deserves an appropriate finale, and I’m sure that by the time it opens, this one will have one. For now, I’m not really sure what I saw. I assumed I’d see some representation of Imhotep being defeated, presumably involving the symbol that was mentioned in the preshow. I don’t think I saw that. There were lights, and noise, and frankly I was a bit dazed, but I don’t think I saw a resolution to the story.

The next thing I knew, Brendan Frasier was congratulating me from a video screen, and demanding a cup of coffee. There is a goofy sight gag that again calls into question the frame of reference for the story – what is the “reality” of this attraction? And then we were on a fairly sparse unload platform, and down the old exit ramp past the cashiers that sit where the Kong photo op used to be.

END OF SPOILERS. YOU CAN START READING AGAIN NOW!

Obviously, the ride still has a ways to go, which is why the public soft-opening is still expected to be several weeks away. Some of the missing effects are crucial to the story, which as any good theme park designer knows it the most important part of an attraction. The finale in particular needs more of a sense of closure. I also had trouble understanding much of the dialogue in the ride, a problem I don’t have on any other attractions. Part of this is psychological, as there is just too much happening at once to absorb it all. There is also speaker tuning that needs to be done during this test-and-adjust phase.

But even in this incomplete state, you can tell ROTM is destined for greatness. The only criticism I can levy is also the biggest compliment – it’s too short. Not in terms of time, as its 3½ minute ride time is about average. And not in terms of physical size, since it occupies one of the largest ride buildings in the world, and features sets that are epic in scope. No, you want it to be longer because there is just so much to see and experience that you wish it could just go on and on. A great showman always leaves ’em wanting more, and this ride does that in spades.

This ride will raise your expectations of what a ride can be. You may feel a little let down when you realize that eventually, it ends and you have to get off. At the moment, this feeling is intensified by the fact that the ending doesn’t generate the kind of catharsis that “Spiderman”‘s high fall or “Indiana Jones”‘s rolling boulder does. I have faith that will change, and ROTM will take its place alongside the great theme park attractions of the world.

Universal has proved once again that they are the masters of postmodern theme park design. They didn’t invent anything you’ve never seen before. They’ve taken everything you’ve seen in the past, and put it all together in a way that you’ve never imagined. My philosophical musings on the ambiguous setting of the attraction is a plus, as it indicates the kind of complexity that makes for re-rideability.

Bob Gault, Scott Trowbridge, Stephen Sommers, and everyone else involved should feel very proud of the work they’ve done. Good luck to the opening crew, and save me a seat (back row, left corner) when everything is 100%!

History

The Super Bowl & Disney: The Untold Story Behind ‘I’m Going to Disneyland!’

Published

2 months ago

February 6, 2025

Jim Hill

One of the highlights of the Super Bowl isn’t just the game itself—it’s the moment when the winning quarterback turns to the camera and exclaims, “I’m going to Disney World!” This now-iconic phrase has been a staple of post-game celebrations for decades. But where did this tradition begin? Surprisingly, it didn’t originate in a stadium but at a dinner table in 1987, in a conversation involving Michael Eisner, George Lucas, and aviation pioneers Dick Rutan and Jeana Yeager.

The Unlikely Beginning of a Marketing Sensation

To understand the origins of this campaign, we have to go back to December 1986, when the Rutan Voyager became the first aircraft to fly around the world without stopping or refueling. Pilots Dick Rutan and Jeana Yeager completed the nine-day journey on December 23, 1986, flying over 26,000 miles before landing at Edwards Air Force Base. Their historic achievement earned them national recognition, and just days later, President Ronald Reagan awarded them the Presidential Citizen Medal at the White House.

Meanwhile, Disney was gearing up for the grand opening of Star Tours at Disneyland, set for January 12, 1987. Following its usual playbook of associating major theme park attractions with real-world pioneers, Disney’s PR team invited astronauts Gordon Cooper and Deke Slayton to the launch event. But in a twist, they also invited Rutan and Yeager, who were still making headlines.

A Dinner Conversation That Changed Advertising Forever

After the Star Tours opening ceremony, a private dinner was held with Disney CEO Michael Eisner, George Lucas, and Eisner’s wife, Jane. During the meal, Eisner asked Rutan and Yeager, “You just made history. You traveled non-stop around the planet on a plane without ever refueling. How are you ever going to top that, career-wise? What are you two gonna do next?”

Without hesitation, Jeana Yeager replied, “Well, after being cramped inside that tiny plane for nine days, I’m just glad to be anywhere else. And even though you folks were nice enough to fly us here, invite us to your party… Well, as soon as we finish eating, I’m gonna go over to the Park and ride some rides. I’m going to Disneyland.”

Jane Eisner immediately recognized the power of Yeager’s statement. On the car ride home, she turned to Michael and said, “That’s a great slogan. I think you should use that to promote the theme parks.” Like many husbands, Michael initially dismissed the idea, but Jane persisted. Eventually, Eisner relented and pitched it to his team.

The Super Bowl Connection

With Super Bowl XXI just around the corner, Disney’s PR team saw an opportunity. The game was set for January 25, 1987, at the Rose Bowl in Pasadena—just miles from Disney Studios. What if they convinced the winning quarterback to say, “I’m going to Disneyland” live on-air?

Disney quickly struck a deal with both quarterbacks—Phil Simms of the New York Giants and John Elway of the Denver Broncos—offering each $75,000 to deliver the line if their team won. Simms led the Giants to victory, making history as the first athlete to say, “I’m going to Disney World!” on national television.

A Marketing Triumph

That year’s Super Bowl had the second-highest viewership in television history, with 87 million people watching Simms say the famous line. The next day, Disney turned the clip into a national commercial, cementing the phrase as a marketing goldmine.

Since then, “I’m going to Disneyland” (or Disney World, depending on the commercial) has been a staple of championship celebrations, spanning the NFL, NBA, and even the Olympics. What started as a casual remark at dinner became one of the most successful advertising campaigns in history.

A Lasting Legacy

Jane Eisner’s keen instinct and Disney’s ability to act quickly on a great idea created a tradition that continues to captivate audiences. The “I’m going to Disneyland” campaign remains a testament to the power of spontaneous inspiration and smart marketing, proving that sometimes, the best ideas come from the most unexpected places.

To learn more about Disney’s ties to the world of sports, check out I Want That Too: A Disney History and Consumer Product Podcast.

Television & Shows

How the Creators of South Park Tricked A-List Celebrities to Roast Universal – “Your Studio & You”

Published

3 months ago

January 12, 2025

Jim Hill

Universal Studios has a rich and storied history, but few moments are as peculiar—and as hilariously cutting—as the creation of Your Studio & You. This 14-minute parody film, commissioned in 1995 to celebrate Universal’s new ownership under Seagram’s, brings together an all-star cast, biting humor, and the unmistakable comedic fingerprints of Matt Stone and Trey Parker.

Long before South Park debuted on Comedy Central in 1997, Stone and Parker were already carving out a reputation for their irreverent style, and Your Studio & You perfectly encapsulates their knack for turning even the most corporate project into something delightfully subversive.

Matt Stone & Trey Parker Before South Park

Stone & Parker were already known out in Hollywood as funny guys. Thanks largely to “The Spirit of Christmas,” which was this video greeting card that they’d crafted for a Fox executive – who then distributed this infamously funny thing (which had Our Lord Jesus Christ & Santa Claus literally duking it out for the holiday affections of Cartman, Kenny, Stan & Kyle) to friends & family.

This was the early 1990s. No internet. Each copy of “The Spirit of Christmas” was made on VHS tape and then mailed. Went viral the old-fashioned way. It’s rumored that George Clooney made over 300 copies of “The Spirit of Christmas” and passed these VHS taps along to friends and family.

Things didn’t move as fast as they do today. “The Spirit of Christmas” still became a sensation out West.

Zucker Brothers

Matt & Trey also had other supporters in the entertainment industry. Among them David Zucker, who was one of the members of ZAZ (i.e., Zucker Abrahams Zucker), the talented trio that made “Airplane!” in 1980, “Top Secret!” in 1984 and the three “Naked Gun” movies.

The original “Naked Gun” in 1988
“Naked Gun 2 & 1/2 : The Smell of Fear” in 1991
and “Naked Gun 33 & a 1/3: The Final Insult” in 1994

All five of these parody films had been made for Paramount Pictures. But in the Late Winter / Early Spring of 1995, Universal had persuaded the Zucker Brothers to come over and set up shop in a bungalow on their lower lot. With the hope that – at some point further on down the line – David & his brother Jerry would start making funny films for Universal.

Zucker Brothers featured in "Your Studio and You"

And it’s during this same window of time (We’re now talking April of 1995) that news breaks that Seagrams (Yep, the adult beverage company. Who – at the time – was making an absolute fortune on the sales of wine coolers) was about to buy a majority stake in MCAUniversal. We’re talking control of 80% of that company’s stock. Which would effectively make Seagrams the new owners of Universal Studios.

Edgar Bronfman

And Edgar Bronfman – the owner of Seagrams – knew that Universal had had a tough time with its previous owners – which had been the Matsushita Electric Industrial Co. of Japan. Matsushita had bought MCA back in November of 1990 for $7.5 billion but had never really understood the entertainment industry.

This is why – after repeatedly butting heads with Lew Wasserman & Sidney Sheinberg (i.e., the heads of Universal Studios & the Universal theme park respectively) when it came to creative control of this company – Matsushita decided to wash it hands of the entire enterprise. Agreeing to sell their holdings in MCA to Seagrams for $5.7 billion (effectively taking a nearly $2 billion loss on this investment).

And Bronfman … He knew that some bad feeling had developed between Hollywood’s creative community and the Japanese owners of Universal. The thinking was that executives at Matsushita Electric had just not gotten what it took to make movies & TV shows.

And Edgar? Right from the get-go, he wanted to show that Seagrams was NOT going to be Matsushita Electric Redux. Bronfman was looking for a way to send a clear message to Hollywood’s creative community that Universal’s new owners got it. That they were willing to work with Hollywood to make the best possible movies & TV shows at Universal.

And how did Edgar decide to get this message across? By making a funny movie.

Zucker Commissions Trey Parker for “Your Studio & You”

Mind you, Bronfman himself didn’t make this film. The owner of Seagrams reached out to David Zucker. Who – after initially agreeing to produce this introduction-to-Universal film – then farmed out the production of the actual project to Trey Parker. Who – just two days before shooting was supposed to star on the Universal Lot – persuaded Matt Stone to come help him on this project.

Which brings us to “Your Studio and You.” Which is a parody of an educational film from the 1950s, right down to being shot in black & white and featuring a very generic soundtrack.

Now what’s amazing about watching “Your Studio and You” today is that this 14-minute-long film features some of the biggest names working in Hollywood back in the mid-1990s. We’re talking about people like recent Golden Globe winner Demi Moore, Sylvester Stallone, Michael J. Fox and Angela Lansbury. Not to mention two of the most powerful men in all of Hollywood, Steven Spielberg & Jeffrey Katzenberg.

And what’s especially interesting about watch “Your Studio and You” is that – as you watch these performers go through their paces in this motion pictures (which – most of the time – involves doing some innocuous task while holding a Seagram’s wine cooler) – you often get the feeling that this star is not in on the gag.

So how did Matt & Trey get away with this? Simple. There was never actually a script for “Your Studio and You.”

Filming “Your Studio & You” at Universal Studios Hollywood

Mind you, David Zucker would always insist that there was. Especially when he’d phone up celebrities on the Universal Lot and say “Hey, I’m sending over a couple of college kids later today. They’re working with me on a new parody film. It’s something that we’re doing for the new owners of Universal. I need just a half hour of your time. We’re shooting something special for the party we’ll be holding when the Seagrams people first arrive at the Studio. Absolutely. You’ll definitely get an invite to that party. So can I count on you to help these kids out? Beautiful. They’ll be over there later this morning.”

And then Matt & Trey would show up and say “… Dang, Miss Lansbury. We’re sorry. We must have left our copy of the ‘Your Studio and You’ script back in our office. Which is clear on the other side of the Lot. So – rather than waste your time – why don’t we do this instead? Follow us over to the Psycho House. Where we’re then going to get footage of you painting the front porch on Mother Bates’ house while you say ‘Gosh, with all of the wonderful improvements going on around here, everyone is going to want to work at Universal.’ Oh, and can we also get you to wear this button on the front of your blazer which reads ‘Universal is A-OK’ ? “

And over & over again, the biggest names who were working for Universal at that time took part in the production of “Your Studio & You” because A) David Zucker vouched for Matt Stone & Trey Parker and B) this was something that was being made for the new owners of Universal. And it’s just natural to want to get in good with the new boss.

Steven Spielberg, Jeffery Katzenberg, and Jaws

But no one at Universal anticipated that “Your Studio & You” would wind up being as sharp edged as the finished product turned out to be. I mean, it’s one thing to bite the hand that feeds you. But “Your Studio & You” ? It doesn’t just bite the hand. It takes the hand off at the wrist.

It’s a brutally funny film. With one of the meanest moments reserved for Steven Spielberg, who plays a driver on the Universal Studio Tour who’s trying to persuade a tram full of bored tourists (one of whom is played by Jeffery Katzenberg) that the “Shark Attack” scene down by Jaws Lagoon is actually exciting.

Spielberg actually says lines like “ … Whoa, whoa. What is going on here? Ladies and gentlemen, this never happens. Look out! It’s a shark! Whoa, that is one big scary shark.”

Mind you, as footage of this mechanical shark repeatedly coming up out of the water is shown, “Your Studio & You” ‘s off-screen narrator (who is voiced by Trey Parker says):

“But what about tomorrow? If we don’t keep in step with the times, things that were once neat and thrilling can become old and stupid.”

“Your Studio & You” Reception

This film was supposed to be shown only once at the welcoming party for Seagrams executive on the Universal Lot. And I’m told that – when Edgar Bronfman saw the finished product at that party – he reportedly turned to David Zucker and said “ … That’s a little more mean-spirited that I think it needed to be.”

And with that, “Your Studio & You” was supposed to go back into the Universal vault, never to be seen again. But when “South Park” debuted on Comedy Central in August of 1997 and then became a sensation for its biting humor, there was suddenly a lot of interest in what else Matt & Trey had done. Which is why copies of “The Spirit of Christmas” began to circulate. And – over time – copies of “Your Studio & You” began to bubble up.

Which – as Stone & Parker have repeatedly pointed out – was just not supposed to happen. Largely because none of the celebrities who appeared in “Your Studio & You” had never signed releases for Universal’s legal department. Because – again – this was for a movie that was only going to be shown once at a private function on the Universal Lot.

Matt mentioned (as part of a career retrospective at the Paley Center in LA back in 2000) that “ … they wouldn’t even let us keep a copy of the finished film.”

It’s a funny but brutal movie. And worth taking a look at today especially if you’re a theme park history buff because it shows Universal Studios Hollywood’s “Jurassic Park: The Ride” still under construction on the Lower Lot. That attraction would finally open to the public in June of 1996.

“Your Studio & You” became a lot easier to see after Seagrams sold off its share of Universal to Vivendi in 2000. Copies began propagating online after that. Though Universal Legal will periodically make an effort to get the latest copy of “Your Studio & You” taken off the Internet because – again – none of the performers who appear on camera ever signed the proper releases and/or were paid for their efforts.

That said, if you’re up for a mean-spirited laugh, “Your Studio & You” is well worth 14 minutes of your time. That said, once you watch this thing, be warned:

You’re immediately going to be thirsty for a Seagram’s wine cooler
And you’re going to have a sudden desire to go out & buy a porcelain deer.

Theme Parks & Themed Entertainment

Disney and Macy’s 90-Year Thanksgiving Day Parade Partnership: From Mickey’s First Balloon to Minnie’s Big Debut

Published

5 months ago

November 15, 2024

Jim Hill

Now, folks, if you’re like me, Thanksgiving just wouldn’t be the same without a coffee, a cozy seat, and Macy’s Thanksgiving Day Parade on the TV. And if you’re really like me, you’re watching for one thing: Disney balloons floating down 34th Street. Ever wondered how Mickey, Donald, and soon Minnie Mouse found their way into this beloved New York tradition? Well, grab your popcorn because we’re diving into nearly 90 years of Disney’s partnership with Macy’s.

The Very First Parade and the Early Days of Balloons

The Macy’s Thanksgiving Day Parade goes way back to 1924, but if you can believe it, balloons weren’t part of the festivities until 1927. That first lineup included Felix the Cat, a dragon, and a toy soldier, all towering above the crowds. Back then, Macy’s had a pretty wild idea to end the parade: they would let the balloons drift off into the sky, free as birds. But this wasn’t just Macy’s feeling generous. Each balloon had a message attached, offering a $100 reward (about $1,800 in today’s dollars) for anyone who returned it to the flagship store on 34th Street.

And here’s where it gets interesting. This tradition carried on for a few years, right up until 1932, when Felix the Cat almost took down a plane flying over New York City! Imagine that—you’re flying into LaGuardia, and suddenly, there’s a 60-foot balloon drifting toward your wing. Needless to say, that was the end of Macy’s “fly away” stunt, and from then on, the balloons have stayed firmly grounded after the parade ends.

1934: Mickey Mouse Floats In, and Disney Joins the Parade

It was 1934 when Mickey Mouse finally made his grand debut in the Macy’s parade. Rumor has it Walt Disney himself collaborated with Macy’s on the design, and by today’s standards, that first Mickey balloon was a bit of a rough cut. This early Mickey had a hotdog-shaped body, and those oversized ears gave him a slightly lopsided look. But no one seemed to mind. Mickey was there, larger than life, floating down the streets of New York, and the crowd loved him.

Mickey wasn’t alone that year. He was joined by Pluto, Horace Horsecollar, and even the Big Bad Wolf and Practical Pig from The Three Little Pigs, making it a full Disney lineup for the first time. Back then, Disney wasn’t yet the entertainment powerhouse we know today, so for Walt, getting these characters in the parade meant making a deal. Macy’s required its star logo to be featured on each Disney balloon—a small concession that set the stage for Disney’s long-standing presence in the parade.

Duck Joins and Towers Over Mickey

A year later, in 1935, Macy’s introduced Donald Duck to the lineup, and here’s where things got interesting. Mickey may have been the first Disney character to float through the parade, but Donald made a huge splash—literally. His balloon was an enormous 60 feet tall and 65 feet long, towering over Mickey’s 40-foot frame. Donald quickly became a fan favorite, appearing in the lineup for several years before being retired.

Fast-forward a few decades, and Donald was back for a special appearance in 1984 to celebrate his 50th birthday. Macy’s dug the balloon out of storage, re-inflated it, and sent Donald down 34th Street once again, bringing a bit of nostalgia to the holiday crowd.

A Somber Parade in 2001

Now, one of my most memorable trips to the parade was in 2001, just weeks after the 9/11 attacks. Nancy and I, along with our friends, headed down to New York, and the mood was something I’ll never forget. We watched the start of the parade from Central Park West, but before that, we went to the Museum of Natural History the night before to see the balloons being inflated. They were covered in massive cargo nets, with sandbags holding them down. It’s surreal to see these enormous balloons anchored down before they’re set free.

That year, security was intense, with police lining the streets, and then-Mayor Rudy Giuliani rode on the Big Apple float to roaring applause. People cheered his name, waving and shouting as he passed. It felt like the entire city had turned out to show their resilience. Even amidst all the heightened security and tension, seeing those balloons—brought a bit of joy back to the city.

Balloon Prep: From New Jersey’s MetLife Stadium to California’s D23 Expo

Each year before the parade, Macy’s holds a rehearsal event known as Balloon Fest at MetLife Stadium in New Jersey. This is where handlers get their first crack at guiding the balloons, practicing with their parade masters, and learning the ropes—literally. It’s an entire production unto itself, with dozens of people rehearsing to make sure these enormous inflatables glide smoothly down the streets of New York on parade day.

In 2015, Macy’s took the balloon show on the road, bringing their Buzz Lightyear balloon out to California for the D23 Expo. I was lucky enough to be there, and watching Buzz get inflated piece by piece in the Anaheim Convention Center parking lot was something to behold. Each section was filled with helium in stages, and when they got around to Buzz’s lower half, well, there were more than a few gas-related jokes from the crowd.

These balloons seem to have a personality all their own, and seeing one like Buzz come to life up close—even outside of New York—had all the excitement and anticipation of the real deal.

Mickey’s Comeback as a Bandleader and Sailor Mickey

After a long hiatus, Mickey Mouse made his return to the Macy’s parade in 2000, this time sporting a new bandleader outfit. Nine years later, in 2009, Sailor Mickey joined the lineup, promoting Disney Cruise Line with a nautical twist. Over the past two decades, Disney has continued to enchant parade-goers with characters like Buzz Lightyear in 2008 and Olaf from Frozen in 2017. These balloons keep Disney’s iconic characters front and center, drawing in both longtime fans and new viewers.

But ever wonder what happens to the balloons after they reach the end of 34th Street? They don’t just disappear. Each balloon is carefully deflated, rolled up like a massive piece of laundry, and packed into storage bins. From there, they’re carted back through the Lincoln Tunnel to Macy’s Parade Studio in New Jersey, where they await their next flight.

Macy’s Disney Celebration at Hollywood Studios

In 1992, Macy’s took the spirit of the parade down to Disney-MGM Studios in Orlando. After that year’s parade, several balloons—including Santa Goofy, Kermit the Frog, and Betty Boop—were transported to Hollywood Studios, re-inflated, and anchored along New York Street as part of a holiday display. Visitors could walk through this “Macy’s New York Christmas” setup and see the balloons up close, right in the middle of the park. While this display only ran for one season, it paved the way for the Osborne Family Spectacle of Dancing Lights, which became a holiday staple at the park for years to come.

Minnie Mouse’s Long-Awaited Debut in 2024

This year, Minnie Mouse will finally join the parade, making her long-overdue debut. Macy’s is rolling out the red carpet for Minnie’s arrival with special pop-up shops across the country, where fans can find exclusive Minnie ears, blown-glass ornaments, T-shirts, and more to celebrate her first appearance in the Thanksgiving Day Parade.

For those lucky enough to catch the parade this year, you’ll see Minnie take her first float down 34th Street, decked out in her iconic red bow and polka-dot dress. Macy’s and Disney are also unveiling a new Disney Cruise Line float honoring all eight ships, including the latest, the Disney Treasure.

As always, I’ll be watching from my favorite chair, coffee in hand, as Minnie makes her grand entrance. The 98th annual Macy’s Thanksgiving Day Parade airs live on NBC, and it’s a tradition you won’t want to miss—whether you’re on 34th Street or tuning in from home.