Theme Parks & Themed Entertainment
Ruminations: E-ville: More than just a hobby
Ever wonder what happens after hours in Emeryville? When the people from Pixar Animation Studios have put down their pencils, packed away their pixels and headed out the door? Roger Colton found out that some of them are heading to E-ville, where things can get rather graphic …
If you have ever seen one of the films from Pixar Animation Studios, then you know that there is a very talented bunch of folks behind the magic that brings those tales to the screen. A lot of hard work (long hours, too) and creativity goes into each one of those projects. But would it surprise you to learn that those kinds of efforts just don’t stop once the day is done?
A good example of this is a group of Pixar artists who have formed their own little publishing enterprise. Appropriately enough, they decided on a name that reflects a shared location: E-ville Press. That is a play on Emeryville – the city where Pixar now has a large complex. Not too far from the San Francisco-Oakland Bay Bridge, it sits on a site that was once a Del Monte Cannery. Please, no fruit cocktail jokes…
So… a few weeks ago, I had the pleasure of meeting a number of these folks at a special signing event for E-ville’s first titles. It was held at Super 7, a fine shop with a nice mixed bag of merchandise, located in San Francisco’s Japantown.
The postcard to promote the E-ville evening
Seems that that postcard and the word of mouth did the trick as Super 7 was full of people that evening. It even overflowed onto the sidewalk outside. Lot of friends stopped by as well as customers with lots of copies of the books and more sold. Plenty of those ended up being signed, too. There was a lot going on that night and I was fortunate to spend a few moments with some of these artists.
Yes, sir. A busy event
I even managed to finally meet up with Alex Woo, the director of the award winning animated short film, “Rex Steele – Nazi Smasher”. Alex has gone on to join the crew at Lucasfilm, where he is working on storyboards for the upcoming Star Wars animated series. Another “Rex” alumni, Pixar story artist and E-ville Press artist who was there that evening was Bill Pressing. You may recall that I interviewed Bill last year. Since then, he’s been hard at work on the (so-far) ultimate Rex Steele graphic novel. It combines all of the previous chapters in one fine volume. A must have for any “Rex” fan! I saw plenty of those autographed that evening.
Bill Pressing (left) and Alex Woo (right) at Super 7
Meanwhile, back to E-ville Press… Currently, there are five books that E-ville Press has available. They are:
Afterworks – A collection of seven short stories by Robert Kondo, Kevin O’Brien, Louis Gonzales, Simon Dunsdon, Nathan Stanton, Sanjay Patel and Max Brace.
Colossus – Mark Andrews weaves a compelling tale in this story of a knight whose soul is trapped inside a metal monster called Colossus.
Rose and Isabel – Ted Mahot offers a different look at the Civil War from two sisters whose lives are changed forever when their brothers leave to join the Union cause.
Little India – Sanjay Patel describes it as “Hinduism made EASY!”
Dumping Grounds – Louis Gonzales shares 72 pages of drawings that “used to live only in my sketch books until now.”
The covers of these five books
So, if you worked all day long on the latest projects at Pixar, what would make you come home and pick up that pencil or stylus (at the Wacom tablet) and go to work on your own project?
Simon Dunsdon had a perfect answer to that question. There were two things that attracted him to this kind of effort. The first was a chance to have a project that they (the individual artists) had control over. In their every day work, that isn’t always the case. The second was the chance to work together with friends to produce something. For him, as a technical director he works on the computer side of things; specifically previsualization and CG camera – on such movies as “Finding Nemo” and “The Incredibles.” His story for Afterworks, “The Champion” was a chance to do things he doesn’t get to do as part of that role at Pixar. He admits to having a soft spots for Sci-fi and Film Noir. When he was young he was a fan of “Flash Gordon” and “King of the Rocketmen” on BBC2. By making a comic that used some of those same ideas he made some of the ideas that may seem a bit goofy by todays standards, cool to him again just as they were when he was 8 years old. And having no prior comic book experience, it was of course something new to try out. With an art college background that was very traditional related to theatrical design, this was a great opportunity.
Sanjay Patel took inspiration from his own heritage and combined it with a cute look that echoes the style of Mary Blair. He admits that isn’t a surprise as he graduated from Cal Arts and finds that the work of many Disney artists has been a big influence. At Pixar (having been involved in projects since “a bug’s life“), he is an animator and storyboard artist. Check out this little look at some of his work in their Artists Corner.
Kevin O’Brien is another story artist having worked on “The Incredibles.” Some of the projects he worked on before coming to Pixar were Iron Giant, Ice Age and Ray Gunn (unfinished). His project, “Blip Atomic” is part of the Afterworks project. It is something that can trace a tangled trail back to his high school days. He described it as a “back burner doodle” that he would do on post-its while he drew storyboards all day. A kind of “fantastic escapism”, if you will. The project gave Kevin a chance to step back to those roots as a high school newspaper cartoonist. With influences such as Moebius, Sergio Aragones and Wally Wood, it is no wonder that he has enjoyed it as much as he did.
Nathan Stanton did a story for Afterworks called “The Visit”. As a Story Board Artist at Pixar, he has worked on “a bug’s life,” “Toy Story 2,” “Monsters Inc.” and “Finding Nemo.” As to the particular inspiration that led to the content of his project? He had this to say:
“For me there was the work that Enrico Casarosa and Ronnie del Carmen have been putting out for years that really inspired me to get my act together and put out my own comic. both of them were very supportive to all of us in getting our work done and helping with the details of where to get stuff printed and how to deal with selling stuff at COMIC CON. One comic in particular that really got me going was a recent one by Sam Hiti, called LOS TIEMPOS FINALES, a brilliant piece of work that was a big inspiration for me while I was working on my story THE VISIT.
I’ve had no experience really in doing comics, other than doing my own stuff here and there. the only printed material I worked on was a small anthology comic from my college days at CALIFORNIA INSTITUTE OF THE ARTS (1988 – 1992).
In terms of comics I was raised on a steady diet of mainly Marvel titles, and it was the artist that determined what titles I followed. I loved and still am inspired by the work of John Byrne and Michael Golden, and fellow marvel artists Frank Miller and John Buscema also. the more recent artists that I have been following are Jim Woodring, Dave Cooper, Mike Mignola and Charles Burns. outside of the comic world my biggest influence is a German artist from the early 1900’s, Heinrich Kley . His work is something else, just beautiful stuff, I could stare at it all day.”
So, what’s in the future for E-ville? I asked Nathan what is coming next from E-ville”.
“For sure there will be an AFTERWORKS 2, which will be in color this time. we will have some of the original cast, but some new people will join the anthology this time, including Jeff Pidgeon. there will also be a ROSE AND ISABEL : PART 2, which Ted Mathot is currently hard at work on. Other than that, I’m not sure, but be certain there will be more titles coming next year!”
So there you have it. A look at what these folks do for something to stretch themselves in ways beyond what they do there at the pixel works.
But they aren’t alone in looking for something to do outside of Pixar. For a final example, how about John Lasseter? They day after the Super 7 event, I found him down in the San Joaquin Valley at a convention for Grand Scale Railroading. Not only was he the speaker at the event banquet, he was out offering rides on his own steam train. You may recall the “Marie E.” was once the project of Disney animator Ollie Johnston. Restored to operation by the folks who were hosting this convention, it was a very popular part of the event.
Engineer Lasseter at the throttle
Who knows what other hobbies those folks from Pixar enjoy? Hmm… seems like another topic for another day!
Earlier this year, you all generously helped out by supporting the efforts toward relief of the victims of the Tsunami. If you can see your way to doing so again, the victims of Hurricanes Katrina and Rita now face many of the same daily challenges for basic necessities. The need is every bit as real and as serious. Consider a donation to the American Red Cross if you can. Every bit helps, even more now…
Theme Parks & Themed Entertainment
Disney and Macy’s 90-Year Thanksgiving Day Parade Partnership: From Mickey’s First Balloon to Minnie’s Big Debut
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.
Theme Parks & Themed Entertainment
Disney’s Forgotten Halloween Event: The Original Little Monsters on Main Street
When most Disney fans think of Halloween in the parks, they immediately picture Mickey’s Not-So-Scary Halloween Party at Walt Disney World or the Oogie Boogie Bash at Disneyland Resort. But before those events took over as the must-attend spooky celebrations, there was a little-known event at Disneyland called Little Monsters on Main Street. And its origins? Well, they go all the way back to the 1980s, during a time when America was gripped by fear—the Satanic Panic.
You see, back in the mid-1980s, parents were terrified that Halloween had become dangerous. Urban legends about drug-laced candy or razor blades hidden in apples were widespread, and many parents felt they couldn’t let their kids out of sight for even a moment. Halloween, which was once a carefree evening of trick-or-treating in the neighborhood, had suddenly become a night filled with anxiety.
This is where Disneyland’s Little Monsters on Main Street came in.
The Origins of Little Monsters on Main Street
Back in 1989, the Disneyland Community Action Team—later known as the VoluntEARS—decided to create a safe, nostalgic Halloween experience for Cast Members and their families. Many schools in the Anaheim area were struggling to provide basic school supplies to students, and the VoluntEARS saw an opportunity to combine a safe Halloween with a charitable cause. Thus, Little Monsters on Main Street was born.
This event was not open to the general public. Only Disneyland Cast Members could purchase tickets, which were initially priced at just $5 each. Cast Members could bring their kids—but only as many as were listed as dependents with HR. And even then, the park put a cap on attendance: the first event was limited to just 1,000 children.
A Unique Halloween Experience
Little Monsters on Main Street wasn’t just another Halloween party. It was designed to give kids a safe, fun environment to enjoy trick-or-treating, much like the good old days. On Halloween night in 1989, kids in costume wandered through Disneyland with their pillowcases, visiting 20 different trick-or-treat stations. They also had the chance to ride a few of their favorite Fantasyland attractions, all after the park had closed to the general public.
The event was run entirely by the VoluntEARS—about 200 of them—who built and set up all the trick-or-treat stations themselves. They arrived at Disneyland before the park closed and, as soon as the last guest exited, they began setting up stations across Main Street, Adventureland, Frontierland, Fantasyland, and Tomorrowland. The event ran from 7:30 to 9:30 p.m., and by the time the last pillowcase-wielding kid left, the VoluntEARS cleaned everything up, making sure the park was ready for the next day’s operations.
It wasn’t just candy and rides, though. The event featured unique entertainment, like a Masquerade Parade down Main Street, U.S.A., where kids could show off their costumes. And get this—Disneyland even rigged up a Cast Member dressed as a witch to fly from the top of the Matterhorn to Frontierland on the same wire that Tinker Bell uses during the fireworks. Talk about a magical Halloween experience!
The Haunted Mansion “Tip-Toe” Tour
Perhaps one of the most memorable parts of Little Monsters on Main Street was the special “tip-toe tour” of the Haunted Mansion. Now, Disneyland’s Haunted Mansion can be a pretty scary attraction for younger kids, so during this event, Disney left the doors to the Stretching Room and Portrait Gallery wide open. This allowed kids to walk through and peek at the Haunted Mansion’s spooky interiors without actually having to board the Doom Buggies. For those brave enough to ride, they could, of course, take the full trip through the Haunted Mansion—or they could take the “chicken exit” and leave, no harm done.
Growing Success and a Bigger Event
Thanks to the event’s early success, Little Monsters on Main Street grew in size. By 1991, the attendance cap had been raised to 2,000 kids, and Disneyland added more activities like magic shows and hayrides. They also extended the event’s hours, allowing kids to enjoy the festivities until 10:30 p.m.
In 2002, the event moved over to Disney California Adventure, where it could accommodate even more kids—up to 5,000 in its later years. The name was also shortened to just Little Monsters, since it was no longer held on Main Street. This safe, family-friendly Halloween event continued for several more years, with the last mention of Little Monsters appearing in the Disneyland employee newsletter in 2008. Though some Cast Members recall the event continuing until 2012, it eventually made way for Disney’s more public-facing Halloween events.
From Little Monsters to Mickey’s Not-So-Scary and Oogie Boogie Bash
Starting in the early 2000s, Disney began realizing the potential of Halloween-themed after-hours events for the general public. These early versions of Mickey’s Halloween Party and Mickey’s Halloween Treat eventually evolved into today’s Mickey’s Not-So-Scary Halloween Party and Oogie Boogie Bash. Unfortunately, this also marked the end of the intimate, Cast Member-exclusive Little Monsters event, but it paved the way for the large-scale Halloween celebrations we know and love today.
While it’s bittersweet to see Little Monsters on Main Street fade into Disney history, its legacy lives on through these modern Halloween parties. And even though Cast Members now receive discounted tickets to Mickey’s Not-So-Scary and Oogie Boogie Bash, the special charm of an event created specifically for Disney’s employees and their families remains something worth remembering.
The Merch: A Piece of Little Monsters History
For Disney collectors, the exclusive merchandise created for Little Monsters on Main Street is still out there. You can find pins, name tags, and themed pillowcases on sites like eBay. One of the coolest collectibles is a 1997 cloisonné pin set featuring Huey, Dewey, and Louie dressed as characters from Hercules. Other sets paid tribute to the Main Street Electrical Parade and Pocahontas, while the pillowcases were uniquely designed for each year of the event.
While Little Monsters on Main Street may be gone, it’s a fascinating piece of Disneyland history that played a huge role in shaping the Halloween celebrations we enjoy at Disney parks today.
Want to hear more behind-the-scenes stories like this? Be sure to check out I Want That Too, where Lauren and I dive deep into the history behind Disney’s most beloved attractions, events, and of course, merchandise!
Theme Parks & Themed Entertainment
The Story of Mickey’s Not-So-Scary Halloween Party: From One Night to a Halloween Family Tradition
The spooky season is already in full swing at Disney parks on both coasts. On August 9th, the first of 38 Mickey’s Not-So-Scary Halloween Party (MNSSHP) nights for 2024 kicked off at Florida’s Magic Kingdom. Meanwhile, over at Disney California Adventure, the Oogie Boogie Bash began on August 23rd and is completely sold out across its 27 dates this year.
Looking back, it’s incredible to think about how these Halloween-themed events have grown. But for Disney, the idea of charging guests for Halloween fun wasn’t always a given. In fact, when the very first Mickey’s Not-So-Scary Halloween Party debuted on October 31, 1995, it was a modest one-night-only affair. Compare that to the near month-long festivities we see today, and it’s clear that Disney’s approach to Halloween has evolved considerably.
A Not-So-Scary Beginning
I was fortunate enough to attend that very first MNSSHP back in 1995, along with my then 18-month-old daughter Alice and her mom, Michelle. Tickets were a mere $16.95 (I know, can you imagine?), and we pushed Alice around in her sturdy Emmaljunga stroller—Swedish-built and about the size of a small car. Cast Members, charmed by her cuteness, absolutely loaded us up with candy. By the end of the night, we had about 30 pounds of fun-sized candy bars, making that push up to the monorail a bit more challenging.
This Halloween event was Disney’s response to the growing popularity of Universal Studios Florida’s own Halloween hard ticket event, which started in 1991 as “Fright Nights” before being rebranded as “Halloween Horror Nights” the following year. Universal’s gamble on a horror-themed experience helped salvage what had been a shaky opening for their park, and by 1993, Halloween Horror Nights was a seven-night event, with ticket prices climbing as high as $35. Universal had stumbled upon a goldmine, and Disney took notice.
A Different Approach
Now, here’s where Disney’s unique strategy comes into play. While Universal embraced the gory, scare-filled world of horror, Disney knew that wasn’t their brand. Instead of competing directly with blood and jump-scares, Disney leaned into what they did best: creating magical, family-friendly experiences.
Thus, Mickey’s Not-So-Scary Halloween Party was born. The focus was on fun and whimsy, not fear. Families could bring their small children without worrying about them being terrified by a chainsaw-wielding maniac around the next corner. This event wasn’t just a Halloween party—it was an extension of the Disney magic that guests had come to expect from the parks.
Disney had some experience with seasonal after-hours events, most notably Mickey’s Very Merry Christmas Party, which had started in 1983. But the Halloween party was different, as the Magic Kingdom wasn’t yet decked out in Halloween decor the way it is today. Disney had to create a spooky (but not too spooky) atmosphere using temporary props, fog machines, and, of course, lots of candy.
A key addition to that first event? The debut of the Headless Horseman, who made his eerie appearance in Liberty Square, riding a massive black Percheron. It wasn’t as elaborate as the Boo-to-You Parade we see today, but it marked the beginning of a beloved Disney Halloween tradition.
A Modest Start but a Big Future
That first MNSSHP in 1995 was seen as a trial run. As Disney World spokesman Greg Albrecht told the Orlando Sentinel, “If it’s successful, we’ll do it again.” And while attendance was sparse that night, there was clearly potential. By 1997, the event expanded to two nights, and by 1999, Mickey’s Not-So-Scary Halloween Party had grown into a multi-night celebration with a full-fledged parade. Today, in 2024, it’s a staple of the fall season at Walt Disney World, offering 38 nights of trick-or-treating, character meet-and-greets, and special entertainment.
Universal’s Influence
It’s interesting to reflect on how Disney’s Halloween event might never have existed without the competition from Universal. Just as “The Wizarding World of Harry Potter” forced Disney to step up their game with “Star Wars: Galaxy’s Edge,” Universal’s success with Halloween Horror Nights likely spurred Disney into action with MNSSHP. The friendly rivalry between the two parks has continually pushed both to offer more to their guests, and we’re all better off because of it.
So the next time you find yourself trick-or-treating through the Magic Kingdom, watching the Headless Horseman gallop by, or marveling at the seasonal fireworks, take a moment to appreciate how this delightful tradition came to be—all thanks to a little competition and Disney’s commitment to creating not-so-scary magic.
For more Disney history and behind-the-scenes stories, check out the latest episodes of the I Want That Too podcast on the Jim Hill Media network.
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