Theme Parks & Themed Entertainment

The ExtraTERRORestrial Files — Part 4

Jim Hill delves into the troubling story behind the creation of that controversial Tomorrowland attraction, “The ExtraTERRORestrial Alien Encounter.”

Published

24 years ago

December 31, 2000

Jim Hill

OUR STORY SO FAR:

It was supposed to be the scariest show ever presented at Disneyland. A squirm-in-your-seat, scream-at-the-top-of-your-lungs special effects extravaganza. Had construction of “Tomorrowland 2055” actually gone forward, “The ExtraTERRORestrial Alien Encounter” could have easily become *THE* attraction you *HAD TO* see while touring this radically revamped side of the park.

Only Disney CEO Michael Eisner just couldn’t bring himself to sign off on the $200 million plus price tag for the “Tomorrowland 2055” project. Which was why he eventually pulled the plug on this ambitious Disneyland redo. Which is how “Alien Encounter” ended up debuting in WDW’s Magic Kingdom rather than at “The Happiest Place on Earth.”

Ah, but Uncle Mikey’s meddling didn’t end there, kids. Because “Alien Encounter”‘s original production team had all moved on to other projects at WDI, Eisner assigned a whole new team to work on this Tomorrowland attraction. Their mission? Lighten up “AE,” pull back on the intensity of this show by folding in a few new gags. Which — hopefully — would make “Alien Encounter” more accessible to children and families.

This the new WDI writers did. But what Michael didn’t realize is that — by ordering that extraneous jokes be shoe-horned into this Tomorrowland attraction — he was also upsetting the balance of “AE”‘s carefully crafted storyline.

The damage that had been done to the show by this rewrite wouldn’t really become apparent until “Alien Encounter” began its in-the-field test and adjust period in December 1994. Of course, by then, it was too late to make any quick fixes …

But — up until that point — everything about this Tomorrowland attraction seemed to be right on track. After all, Disney had its “A Team” working on its “ExtraTERRORestrial Alien Encounter” show.

I mean, listen to the folks that the Mouse had riding herd on the original version of WDW’s “AE” show:

Tom Fitzgerald, Senior Vice President of Theme Park Productions. Tom had had a hand in the creation of numerous Disney theme park attractions that successfully combined film elements with audio animatronic figures. Prior to “Alien Encounter,” Fitzgerald had helped produce “Star Tours,” “Jim Henson’s Muppetvision 3D” as well as “From Time to Time.” So Tom certainly seemed up for the “AE” challenge.

Then there was Eric Jacobson, Senior VP in charge of Creative Development at Walt Disney World. Name a huge new attraction that’s opened at the Florida parks in the past 10 years — “GM Test Track,” “Rock ‘n’ Roller Coaster,” etc. — and Eric’s probably had a hand in it.

Disney also recruited top notch talent to handle the film portion of WDW’s “AE” attraction. Sitting behind the camera was noted animation director Jerry Rees. Best known as the visual effects supervisor on “Tron” as well as being the director of “The Brave Little Toaster,” Rees had also helped produce another fine little film for the Disney theme parks. Do you remember the “Michael and Mickey” movie that used to run at the Disney-MGM Studios? You know, the one where Chernabog cowered before the Disney CEO and said “Sorry, Mr. Eisner. It’ll never happen again.” Jerry did that.

The Mouse then recruited a talented group of actors to appear in Rees’ “Alien Encounter” film sequences. Among these was Academy Award nominee Jeffrey Jones as Chairman Clinch, the head of X-S Tech; TV favorite Kathy Najimy as the cautious Dr. Femus and comic Kevin Pollak as Spinlock, the impatient alien marketing rep. (Special bonus for all you “AE” trivia buffs: That out-of-this-world spokesmodel you see on the video monitors in the lobby? Under all that green make-up, that’s Supermodel Tyra Banks!)

But — even with all these talented, experienced people on board the project, trying to get “AE” to succeed — there was still no getting around the flaws in “Alien Encounter”‘s badly reworked script. According to WDI insiders, the production’s first real mis-steps came when it was time to decide who would do the voice of the sales-droid in “AE”‘s pre-show.

Hoping that he might be able to give WDW guests a few big laughs before they got scared out of their socks by the show in the main theater, the Imagineers hired Saturday Night Live star Phil Hartman to provide vocals for the robot who ineptly demonstrated X-S Tech’s teleportation technology in the pre-show. Being the old show business hand that he was, Hartman turned in a wonderfully smarmy performance, very reminiscent of his failed B movie actor Troy McClure from The Simpsons.

Imagineering had assembled what they thought was a top flight production. They spent months redoing the exterior of WDW’s old “Mission to Mars” show building so that it became the bland but somewhat sinister looking Tomorrowland Interplanetary Convention Center. When test audiences first entered the inner lobby area in December 1994, they were amused by the numerous in-joke meeting announcements they read on the overhead monitors (Eg: “Lunar Disneyland — The Happiest Place Off Earth” and, my personal favorite, “Mission to Mars: Fact or Fiction?”). After that, these same WDW guests wandered into the pre-show, where they’ll chuckled warmly as Hartman’s robot character accidentally fried Skippy. Smiling broadly, these folks then wandered in the main theater …

… and that’s when all the trouble started.

Given how light and comical the pre-show elements of “Alien Encounter” had been, test audiences were shocked by how dark and intense the show in the main theater was. As guests left the “AE” show building, they complained long and loudly to cast members doing exit polls about the attraction that they had not been properly warned that this Tomorrowland show was going to be really, REALLY scary. They had assumed that “AE” would like all of the other supposedly scary Disney theme park shows, which are thrilling … but not truly terrifying.

But even with no 20th Century Fox “Alien” creatures in sight, WDW guests still found this new Tomorrowland attraction plenty scary. And — given that members of the test audience had walked right by huge signs that clearly told everyone about “Alien Encounter”‘s intense nature — the Imagineers wondered what else they could do to better prepare audiences for the show they’d see inside.

The obvious place to start was “AE”‘s pre-show. As funny as Phil Hartman’s performance as the sales-droid might have been, it was clear that this piece of the attraction wasn’t doing that good a job of setting the stage for the show that followed. Sensing that “Alien Encounter”‘s introductory scenes needed more menace, the Imagineers shelved Hartman’s recording as they reworked the script for “AE”‘s pre-show — deliberately putting a much darker spin on the proceedings.

The Imagineers then asked “Rocky Horror Picture Show” legend Tim Curry to come and record some new dialogue for the sales-droid. The new script and Curry’s sinister vocals did the trick. Guests still laughed at what they saw in the pre-show, but they were a little creeped out too. As they turned to enter the main theater, these WDW visitors were now filled with a vague unease. Which meant they were in the perfect frame of mind for the carnage that was to follow.

Having fixed the pre-show, WDI now turned its attention to the “Alien Encounter” attraction itself. Test audiences had found the first version of the 3D sound show intense but also hard to follow. By sitting in on dozens of performances of “AE,” the Imagineers determined that the audience was screaming so long and so loudly at parts of the show that they were missing out on several crucial pieces of expository dialogue. Consequently, a lot of the members of the test audiences had trouble following the original version of the attraction’s storyline.

Disney CEO Michael Eisner — who first experienced “AE” in the field in December 1994 the weekend he was down at WDW to attend the grand opening of Pleasure Island’s Planet Hollywood — also agreed that the attraction had some serious story problems. (It’s been rumored that Michael actually took Sylvester Stallone and Arnold Schwarzeneggar along with him the first time he test-drove this Tomorrowland attraction. Which is not as far fetched as it might seem, folks, given that both of these men were also in Orlando the weekend that Eisner was. Since all three were taking part in the WDW PH festivities. But — to date — I’ve never been able to get any official confirmation on this story. Sorry about that. Anyway …) That’s why Eisner agreed to let the Imagineers shut down “The ExtraTERRORestrial Alien Encounter” — so that WDI could have all the time it needed to make the appropriate repairs to the attraction’s plot holes.

So all those stories that you’ve heard over the past six years about how Michael Eisner ordered “Alien Encounter” closed because he didn’t think the show was scary enough … well, they’re not entirely true, folks. Sure, Michael wanted extra thrill elements to be added to the show. But the real reason that Eisner allowed the Imagineers to temporarily close “AE” was because he wanted the show’s storyline to come across more cleanly, more clearly, more coherently. Michael’s main aim in closing the show wasn’t to add extra scares. But rather because he wanted “Alien Encounter”‘s story to be easier for the average WDW visitor to follow.

Mind you, this simple sounding task took an awful lot of effort. Some of the changes that WDI made to the “Alien Encounter” show were small and subtle — like waiting an additional six seconds before playing a crucial piece of dialogue over the speakers in the theater (just so the line wouldn’t be drowned by the audience’s screams). Other changes involved providing the people who were in the middle of experiencing “Alien Encounter” with additional visual reference material (I.E. throwing a graphic up on the theater’s four video monitors that clearly shows that the monster that was trapped inside the teleportation tube has a pair of wings … that brief image was just enough to get WDW guests to finally understand how the monster was making its way around the room once it supposedly broke out of the containment field).

Perhaps the biggest change that was made to the in-theater portion of the “Alien Encounter” attraction was the show’s new finale. In the original, jokier version of “AE,” after the alien has been successfully beamed out of the theater, Chairman Clinch is finally beamed in. However — given how disastrously the demonstration has gone — Spinlock and Femus are reluctant to raise the blast shield on the teleportation tube. So, as WDW guests exited out of the theater, they could clearly hear the increasingly exasperated X-S Tech Chairman banging on the inside of the tube, demanding to be let out.

Again, a funny idea. But not really in keeping with the tone of the scary show that preceded it. That’s why the Imagineers opted to drop the gag-filled ending of the show and go with a new “Blood & Guts” finale. To add a disgusting coup de gras to the whole “Alien Encounter” experience, the guests seated in the “AE” theater now got splattered with warm water just as the teleportation device supposedly overloaded and blew the evil alien creature in a million tiny wet chunks. (To put a grotesque but funny tag on this part of the show, the Imagineers deliberately added one additional piece of dialogue to “AE”‘s explosive finale. The fat stupid guy who’s supposedly been sitting behind you now says “Yuck! I had my mouth open.” Ewwww!)

Given that most of these changes don’t seem all that involved — a new line here, a graphic there — why did it take the Imagineers so long (nearly six months) to finally fix WDW’s “Alien Encounter?” Simple. Given all the elaborate technology that was necessary to seamlessly co-ordinate the hundreds of elements of this Tomorrowland show, it took weeks to properly reprogram the show’s computers so that they could smoothly handle even the simplest of changes.

For all you techno-nuts out there, here’s a little insight in the gear involved with running “Alien Encounter”: “AE” actually works off of an SSU — a show-supervisor unit. This rack mounted system controls all the lighting and smoke effects as well as the audio and video elements used in the show. This ambitious little machine also keeps tabs on three SIUs — show-interface units. One of these state-of-the art machines rides herd on the pre-show, while the other two take care of the side-by-side sit-down theaters. (Aren’t you glad you asked?)

In order to get all the necessary changes made (which often involved hours and hours of trial and error), Disney officially closed WDW’s “Alien Encounter” in January 12, 1995 — less than six weeks after the Mouse had been begun doing test and adjust on its new Tomorrowland attraction. Though the show had never officially opened to the public, Walt Disney World was still abuzz with rumors about why the new Magic Kingdom attraction had suddenly shuttered.

The Mouse tried to put a funny spin on the story. They distributed thousands of copies of a flyer property-wide that had supposedly been written by X-S Tech Chairman, L.C. Clinch. In his message to WDW cast members, Clinch apologized for the delays involved with getting “Alien Encounter” opened. “We look forward to a profitable relationship with your species,” or so said the pretend memo. The flyer then went on to say that the projected re-opening date for this new Tomorrowland attraction was Easter 1995.

Unfortunately, the Easter Bunny would be long gone before most WDW guests finally their chance to “Seize the Future with X-S.” It wasn’t until June 20, 1995 before “The ExtraTERRORestrial Alien Encounter” officially re-opened in Disney World’s Magic Kingdom. By then, Michael Eisner had reportedly lost all enthusiasm for this new Tomorrowland attraction.

What exactly caused Eisner to sour on it? Some say that it was the additional $10 – $15 million Disney had to pump into “Alien Encounter” so that this new Tomorrowland attraction would finally play properly for WDW guests. Others suggest that it was all the negative publicity that was associated with the “AE” redo.

The most likely reason for the Disney CEO falling out of love with “The ExtraTERRORestrial Alien Encounter” attraction? I believe that Eisner eventually began to believe what those old Imagineers had been saying: that a scary show like “AE” doesn’t really belong in the Magic Kingdom. Given the hundreds of letters that the Walt Disney Company still receives every year from angry WDW guests — people who’d just gotten off “Dumbo the Flying Elephant” or just been whirled around in the Teacups, only to unwittingly wander in “Alien Encounter” and find themselves locked down in a chair, suddenly being threatened by a rasping, drooling monstrosity — there are obviously quite a number of folks who feel this way.

Which — to some Disneyana fans’ way of thinking — is a real shame. For — as vocal as “Alien Encounter”‘s critics may be — there’s an equally hardcore group of theme park fans who absolutely adore this Tomorrowland show.

These are the folks that you’ll spy at the N.F.F.C. conventions proudly wearing their “Fried Skippy” t-shirts. These are the same people who eagerly snatched up all the “Alien Encounter” action figures Disney began selling last year. You can usually pick out their cars in the WDW parking lot. Their vehicles are the ones with the Skippy beanie baby sitting on their dashboard.

It probably won’t surprise you to hear that there are also a lot of “Alien Encounter” fans inside WDI. These are the Imagineers who had their hearts set on adding this edgy attraction to every single Disney theme park worldwide. These guys insist that — if Eisner had okayed construction of “Tomorrowland 2055” and followed Imagineering’s original plans for “Alien Encounter” (and not the dumbed down, gag-filled WDW version) — Disneyland’s “AE” show would have been a huge hit right out of the box. A “Star Tours”-sized success which would have served a template for all the other “Alien Encounter” attractions to follow, giving the company a successful franchise show that they could have quickly rolled out at the corporation’s theme parks worldwide.

Ah, but I guess that’s not going to happen now. WDW’s “Alien Encounter” appears to be the one and only version of this high tech new Tomorrowland attraction that will ever make it off the drawing board. (Though I would be remiss if I didn’t mention the “Invasion! An ExtraTERRORestrial Alien Encounter” interactive game that’s currently available for play at DisneyQuest. I’m told that this multi-player game — which is very loosely based on the WDW attraction — is hugely popular at both the Chicago and the Lake Buena Vista DQ locations.)

But still you have to wonder. Given that WDI’s reportedly in the process of putting together a new dark, scary, intense attraction — the long-rumored “Armageddon” exploding-Russian-space-station effects show — for both Disney’s California Adventure and Disney Studios Europe, wouldn’t it just be cheaper and smarter just to do “Alien Encounter” as it was originally supposed to be done? Featuring the creatures from 20th Century Fox’s “Alien” movies?

Come on, Disney! “Seize the Future.” Take another stab at doing “Alien Encounter.”

Only this time, don’t let Eisner muck it up.

Television & Shows

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

Published

3 days 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

2 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.

Theme Parks & Themed Entertainment

Disney’s Forgotten Halloween Event: The Original Little Monsters on Main Street

Published

4 months ago

September 22, 2024

Jim Hill

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!