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Depp Part Deux: WDW’s revamped version of “Pirates of the Caribbean” opens to the public

JHM columnist Seth Kubersky checks out the newly “plussed” version of this Magic Kingdom favorite and finds a lot that he likes

Published

19 years ago

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Yo ho, …o h… irates life fo… me.


Since 1973, that’s what visitors to WDW‘s Pirates of the Caribbean have (figuratively) experienced. Start with Disneyland‘s 1967 classic, arguably the greatest E-Ticket ever built, and whittle it down to the barest essentials. Trim off the mood-building first act and the uphill finale, and shoehorn what’s left into half the running time. What you get is still a great ride, a life-long favorite of this New Jersey-raised kid who never knew the wonders of the West Coast version. But it’s a ride always destined to be a weak sister to its big brother in Anaheim.


So when plans were announced to update POTC with elements from the popular films, there was trepidation and anticipation. Trepidation mainly for the original; fans have a deep emotional connection to it, and their ire was raised in the past by Tony Baxter’s 1997 “PC” rehab. In Florida though, there was more anticipation. We’re less likely to toss around words like “untouchable” and “desecration,” and more likely to dream about ways our version could be re-Imagineered into more than an abbreviated afterthought.



Copyright 2006 Disney Enterprises


The idea of transforming WDW’s ride into the equal of the original (or even a near competitor) is an impossible dream. That would require a dramatic lowering of the Floridian water table, and the construction of a massive new show building. The water table may be dropping faster than you think (seen any new sinkholes today?). But even the biggest POTC fan would probably rather see the effort and money a complete overhaul would take invested in something brand new. Since early 2005 rumors of the rehabs have been swirling, ranging from an alternate nighttime flume at Disneyland, to only WDW getting a Jack Sparrow AA, to a new finale show scene in WDW’s uphill lift (Jason Surrell shot down that rumor for me at a book signing last fall).


Disneyland’s POTC reopened with great publicity last month, and the changes there have been well documented. (Check out this link for some incredible videos). WDW’s version opened to the public with much less fanfare on Saturday July 1st. So few people seemed aware of it that I was able to ride half a dozen times in the evening with no more than a 15 minute wait. Since readers here are probably already well aware of the nature of the new additions, I’ll confine my comments to how well they’ve been executed in the Florida attraction.



Copyright 2006 Disney Enterprises


The Caribbean Plaza area has been refreshed with new signage, most notably the ship’s mast with a black “Pirates of the Caribbean” sail planted outside the ride entrance. It’s a striking visual, and the skeletal pirate looking through a spyglass in the crow’s nest is a beautiful touch. The clock tower window has some battle-damage scorch marks (but no cannon fire while I was there), and there are banners and painted scrolls with familiar phrases from the ride. The area sound loop now features cues from the film’s score instead of steel drums. The overall effect is to make the initial impression of a darker, scarier, more adventuresome ride – not to excess, but just enough to slightly heighten the anticipation of danger. (I heard more than one small child in line asking how scary the ride was, something I hadn’t heard too often previously). Some might say that this is tipping the ride’s hand too early, but I think with WDW’s greatly shortened ride time, you can’t waste a moment in building the mood. One sad change is the loss of the barker bird; one CM, when asked if he might return, said emphatically “He’s dead.”


Inside the queue, once past the new electronic-eye turnstyles (thank you!), not much is changed. Some new (old-looking) paint, a slight lowering of light levels, and a cleaned up sound system that let’s you hear some music that you may never have been able to hear before (a recurring theme in the upgrade). The dock area props have been minorly refreshed, and the “dead men tell no tales” line can be heard echoing faintly as you board.



Copyright 2006 Disney Enterprises


Immediately after your boat launches you’ll see the first major addition. As you pass under the control booth window and round the first turn to the right, you will see the new Davy Jones fog screen effect. It is truly an amazing feat of technology, even better in person than on video. The realistic shimmering waterfall, and your ability to pass through it completely dry, makes me smile every time I see it. But while it’s a technical home-run, it’s only a triple artistically. For one, it comes far too early in the ride. It’s literally the first thing you see, and there is little to no time to establish the atmosphere of the cave. The new effect means the colorful waterfalls have been muted. Worse, the key “dead men” line is barely heard before you see the new effect. Though it’s heard echoing very faintly at the launch, first time riders will not have time to key into it. It’s especially vexing because one of Davy Jones’ 3 lines of dialogue is “Ah, but they DO tell tales. So says I, Davy Jones.” If you haven’t established the original line, then the response becomes a non-sequiter. Another problem is that the effect is not triggered by a sensor, but is just on a timed loop. That means that sometimes you’ll see Davy and then pass thru him, as is most dramatic. But sometimes he’ll appear when your boat is already halfway through, and sometimes you’ll just see him talk to the boat ahead of you. All of this combines to mean that the effect, while sure to generate gasps of delight as is, could have been more effective from a storytelling point of view. The puzzling thing is, if the effect had been set a dozen or so yards further downstream (just before the beach) some of these problems might have been avoided. I can only assume that there was some technical reason why the projector and fog screen had to be mounted where they were.


The rest of the grottos have not been noticeably improved, and there is one major loss. Hurricane Harbor did not get DL’s lightning effects, nor did the beach receive any movie prop treasure. Shockingly, the iconic Jolly Roger is gone. Not only has that memorable talking skull been evicted, but his safety warning spiel is AWOL, something I can’t imagine warms Disney’s lawyers’ hearts. I’m of two minds on this change; on the one hand, combined with the overall lower light levels, this makes for a much more unexpected, and therefore thrilling, drop. On the other, that skull is ingrained in my memories of the ride, and without him that scene is a bit too quiet.



Copyright 2006 Disney Enterprises


After you splash down, you’ll immediately notice the rousing new music pulled from the film – to my mind, a great improvement. Then, you’ll notice the copious amounts of atmospheric fog in the harbor; so much that it makes the harbor seem smaller than before. The fort is much the same, as is the Wicked Wench, with the exception of what looks like some new rigging on the bow. There are 2 new stars of this scene; the first is a Geoffrey Rush as Barbossa AA who replaces the former ship’s captain. This figure, while not “terrible” as some have complained, is not as fluid and dynamic as the one in California appears to be, though they were having trouble with him as of Friday so perhaps he will improve. As long as he continues to say “blooming cockroaches” along with his demands for Jack Sparrow, he’s alright by me. The other new star is the cannon effects, which have been enhanced with new subwoofers and air cannons. They certainly sound much more percussive (a huge improvement on the old “hiss”), and splash water higher. On one trip I even felt a slight breeze. But they are nothing compared to the forceful blast of mist I experienced at DL. I wish they could adapt those simple rubber-band-powered air launchers that are (annoyingly) sold in parks and malls; they would seem perfect for an effect that would really knock you hat off.



Copyright 2006 Disney Enterprises


Moving into the well scene, you’ll notice the new costume and dramatic new arm movements of the lead pirate. He looks great swinging his cutlass, I only wish I’d seen the Mayor spit water in response. Just past them is the 1st Jack Sparrow AA, and he’s truly a work of art. Unlike Ellen, Bogie, or just about every other celebrity AA, this isn’t some fugly Halloween-mask approximation. It is Johnny Depp in the flesh, down to the last fleck of eyeliner. Taken from a life-mask, and built with obvious care, it’s a dead ringer standing still, and eerily accurate in motion. Hiding behind some dress forms, Jack leans and cranes his neck in a way that is not merely lifelike, but that captures the quirky essence of Depp’s performance. I was initially wary when I heard they were doing a “realistic” AA, as opposed to a stylized caricature in the classic Marc Davis style. But when you think of it, the POTC films feature attractive leads surrounded by a grotesque, almost cartoonish cast of characters – much as the rides now do. Whatever qualms I might have had, now that I have seen it first-hand I can only applaud the decision to add Captain Jack.



Copyright 2006 Disney Enterprises


After sailing past the more-or-less untouched auction scene (is it just me, or is the Redhead’s smirk diminished?) we enter the always-controversial chase scene. At WDW, the ladies are still chasing the pirates, but that’s not the point. The reason that this scene has been the focus of so much controversy is that there wasn’t anything else to focus on. As Tony Baxter has pointed out, this was always the weakest scene in the village portion of the show. Whatever you think of the result, I take him at his word that he was sincere in his desire to “plus” this scene in 1997. Now, that goal has finally been achieved. By replacing the girl hiding in the barrel with Sparrow, the scene finally has a dramatic focal point. This is no mere static head on a stick, as the old one was. It’s a complete head and shoulders that can lift, lean, turn, and duck with amazing dexterity. It seems to communicate subtleties of performance, like the shifting of eye focus or the tilt of the head, with uncanny naturalism. If they could sell a replica Depp-in-a-barrel (have you seen the chimp AA sold at The Sharper Image?), they’d make a mint.



Copyright 2006 Disney Enterprises


And the new figure is ably complimented by a radically improved Pooped Pirate AA, who now moves and gestures with more lifelike enthusiasm than the real David Crosby. I believe the WDW version of this scene is even an improvement on the West Coast in its staging. In the original, the dog is positioned behind the pirate and to his left, directly against the barrel holding Jack, and the pirate faces the opposite way. In WDW, the dog is in front of the pirate and to his right. The pirate is looking at the dog, the dog is looking at Jack, and Jack is looking at the map. This is much better blocking from a theatrical point of view; the more dynamic triangle allows the pirate to relate to the dog, as opposed to blindly tossing the occasional comment over his shoulder.


The burning town remains much the same, with repaired but not improved fire effects – though a CM I rode with insisted the loaded-down pirate balancing on the boat was new. The jail is also unchanged, though the improved audio system lets “grab ’em by the ears” ring out clearly.



Copyright 2006 Disney Enterprises


The final addition is in the treasure room, which used to be unique to WDW, but is now duplicated in a vault along the uphill lift in DL. The room has been reconfigured, with some new treasure added but all the original figures removed. In their place sits Jack, rocking back and forth with one leg swung over the arm of his throne, holding a goblet in one hand and some treasure in the other. He’s joined by a parrot (not the barker bird, but perhaps a second cousin) as he sings along to the theme song – the only talking Sparrow in the ride, voiced by Depp himself. Jack’s animation and dialogue here are both first rate. He leans in his chair with precarious grace, and his hand animation perfectly captures the drunken swish of Depp’s gestures. The audio track here is so long that I heard new bit on every ride. In addition to singing snippets of the theme song and saying “there’s treasure enough for all”, as he does in DL, WDW’s Jack has some great interaction with the parrot that is unique to this version. Some of my favorites are when he asks “do you know the words to this song, parrot? If so, feel free to join in at any time,” and when the parrot responds to the lyrics “maraud, embezzle, and even hijack” with “Hi, Jack! Hi, Jack!” Like the pooped pirate and the dog, giving Jack another character to play off of heightens the drama of the scene and the realism of the AA’s performance.


Unfortunately, these improvements were undercut by some technical choices. The 3rd Jack AA at WDW is set deep in the treasure room, approximately where the tied-up soldier used to sit. It is much further from the boat than the vault in the West Coast version. Also, the dim indirect lighting put the AA’s face in shadow for much of the animation cycle. As a result, guests can’t see the figure and appreciate the effect as much as they otherwise might.


As the ride ends, now sans the pirates firing guns, you disembark onto the newly-reconfigured unload dock. Stepping onto the moving exit ramp, notice the peg-leg footprints newly painted on. And you can’t miss the avalanche of movie-themed tchotskes in the gift shop.


So, was it worth it? Should we consider this renovation a success? If you’re like me, you’ll answer that question by turning around and getting right back in line, if only to see the amazing new fog screen and AAs again. Though a few beloved elements are gone (perhaps a few more than were necessary), the new additions are the kind that add great re-ride value, and will have people talking for some time to come. Nitpicks aside, I feel this update has breathed new life into this WDW attraction, even if it’s still no substitute for a trip west to the original.


Now, when do we start debating the next round of additions? I say, if they’re going to add Orlando Bloom, he better be swinging a sword Paris-style. As for Ms. Knightley… 
 

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Television & Shows

The Untold Story of Super Soap Weekend at Disney-MGM Studios: How Daytime TV Took Over the Parks

Published

4 days ago

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April 24, 2025

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Super Soap Weekends at Disney-MGM Studios

A long time ago in a galaxy that … Well, to be honest, wasn’t all that far away. This was down in Florida after all. But if you traveled to the WDW Resort, you could then experience “Star Wars Weekends.” Which ran seasonally at Disney’s Hollywood Studios Disney World from 1997 to 2015.

Mind you, what most folks don’t remember is the annual event that effectively plowed the road for “Star Wars Weekends.” Which was “Super Soap Weekend.” That seasonal offering — which allowed ABC soap fans to get up-close with their favorite performers from “All My Children,” “General Hospital,” “One Life to Live” and “Port Charles” — debuted at that same theme park the year previous (1996).

So how did this weekend-long celebration of daytime drama (which drew tens of thousands of people to Orlando every Fall for 15 years straight) come to be? 

Michael Eisner’s Daytime TV Origins and a Theme Park Vision

Super Soap Weekend was the brainchild of then-Disney CEO Michael Eisner. His career in media began with short stints at NBC and CBS, but it truly took off in 1964 when he joined ABC as the assistant to Leonard Goldberg, who was the network’s national programming director at the time.

Eisner quickly advanced through the ranks. By 1971, he had become Vice President of Daytime Programming at ABC. That meant he was on the scene when One Life to Live joined the lineup in July 1968 and when All My Children made its debut in January 1970. Even after being promoted to Senior Vice President of Prime Time Programming in 1976, Eisner stayed close to the daytime division and often recruited standout soap talent for ABC’s primetime shows.

Fast forward nearly two decades to July 31, 1995. The Walt Disney Company announced that it would acquire ABC/Cap Cities in a $19 billion deal. Although the acquisition wasn’t finalized until February 1996, Eisner was already thinking ahead. He wanted to use the stars of All My Children, One Life to Live, and General Hospital to draw people to Disney’s theme parks.

He had seen how individual soap stars were drawing huge mall crowds across America since the late 1970s. Now he wanted to bring dozens of them together for something much bigger.

Super Soap Weekend Takes Over Disney-MGM Studios

The very first Super Soap Weekend was announced in June 1996, just a few months after the ABC deal closed. The event was scheduled for October 19 and 20 at Disney-MGM Studios and was a massive success.

The weekend featured panel discussions, autograph sessions, and photo opportunities with the stars of ABC’s daytime dramas. Thousands of fans packed the park for the chance to meet their favorite actors. Due to the overwhelming response, the event became an annual tradition and was eventually moved to Veterans Day weekend each November to better accommodate attendees.

Longtime fans like Nancy Stadler, her mom Mary, and their close friend Angela Ragno returned year after year, making the event a personal tradition and building lifelong memories.

West Coast Events and the ABC Soap Opera Bistro

Disney even tried to recreate the event out west. Two Super Soap Weekends were held at Disneyland Resort, one in April 2002 and another in June 2003.

At Disney’s California Adventure, Eisner also introduced the ABC Soap Opera Bistro, a themed dining experience that opened in February 2001. Guests could dine inside recreated sets from shows like General Hospital and All My Children, including Kelly’s Diner and the Chandler Mansion. The Bistro closed in November 2002, but for fans, it offered a rare opportunity to step into the world of their favorite soaps.

SOAPnet, Port Charles, and the Expansion of Daytime TV at Disney

Eisner’s enthusiasm for soaps extended beyond the parks. In January 2000, he launched SOAPnet, a cable channel dedicated to prime time replays of ABC’s daytime dramas.

During his time at Disney, General Hospital also received a spin-off series titled Port Charles, which aired from June 1997 to October 2003. The show leaned into supernatural plotlines and was another example of Eisner’s commitment to evolving and expanding the soap genre.

The Final Curtain for Super Soap Weekend

In September 2005, Eisner stepped down after 21 years as head of The Walt Disney Company. Bob Iger, who had previously served as President of ABC and Chief Operating Officer of ABC/Cap Cities, took over as CEO. While Iger had deep ABC credentials, he didn’t share Eisner’s passion for daytime television.

In the fall of 2008, Disney hosted the final Super Soap Weekend at what was then still called Disney-MGM Studios. That same year, the park was rebranded as Disney’s Hollywood Studios, and Disney began shifting away from television-focused experiences.

Within the next five years, the rest of Eisner’s soap legacy faded. One Life to Live was canceled in January 2012. SOAPnet was rebranded as Disney Junior in February 2013. Later that year, All My Children ended its 41-year run on ABC.

Only General Hospital remains on the network today, the last standing soap from the golden age of ABC Daytime.

A New Chapter for Daytime TV and Super Soap Fans

The soap genre may have faded from its former glory, but it’s not gone. On February 24, 2025, CBS premiered a brand-new daytime drama called Beyond the Gates, marking the first new soap launch in years.

Meanwhile, All My Children alum Kelly Ripa has been actively working on a revival. In September 2024, she mentioned a holiday-themed movie set in Pine Valley that would bring back many original cast members. The project was in development for Lifetime, though its current status is unclear.

And what about Super Soap? Fans like Nancy and Angela still hope Disney will bring it back. Even if it only featured the cast of General Hospital, it would be a welcome return for longtime viewers who miss that one weekend a year where the magic of Disney collided with the drama of daytime TV.

If you want to hear firsthand what it was like to be part of Super Soap Weekend, be sure to listen to our I Want That Too podcast interview with actor Colin Egglesfield. He shares behind-the-scenes memories from his days as Josh Madden on All My Children and what it meant to be part of one of the most unique fan events in Disney park history.

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History

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

Published

3 months ago

on

February 6, 2025

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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.

Credit: AP News

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.

Credit: Endor Express

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.

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Television & Shows

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

Published

4 months ago

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January 12, 2025

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Your Studio and You

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).

Edgar M. Bronfman
Credit: NYTimes

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:

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