Theme Parks & Themed Entertainment

To Hurl or Not to Hurl: A Second Opinion on “Mission: Space” — Part III

In the conclusion of his three part series, a slightly hungover Seth Kubersky braves Epcot’s newest thrill ride. Soooo … how did JHM’s newest columnist feel once he returned to Future World?

Published

22 years ago

August 10, 2003

Seth Kubersky

Okay. Let’s begin our pre-flight check:

Massively hyped new high-tech thrill attraction? Check.
Budget-limited underthemed queue line? Check.
Repeated apocalyptic safety warnings? Check.
Scientifically calibrated Jagermeister hangover? Check.

We have liftoff!

As the launch sequence of “Mission: Space” begins, you’re likely to think to yourself “hey, this isn’t so bad.” The initial acceleration is surprisingly gentle. If you are expecting an Incredible Hulk-like kick in the seat of the pants, you may at first find yourself wondering where the thrill is. But in a few seconds all such thoughts will be erased as you are gradually pinned to your seat by the mounting G-forces.

Here’s how to simulate the Mission: Space experience at home:

1) Find a cheap motel with a vibrating “magic fingers” bed.

2) Throw in some quarters and lie down flat on your back.

3) Have a large person (approx. 3 times your weight) slowly lie on your chest.

By the time the ride reaches full launch velocity, you will be the proud recipient of an instant facelift. The sensation of your skin being pulled tauter than Katherine Helmond’s in “Brazil” is unique and quite enjoyable. You will also feel the pressure in your throat and chest, and may briefly have difficulty swallowing. It is not, however, the “pit of your stomach” feeling that causes many people discomfort on roller coasters and freefall rides.

Despite my lingering hangover, I was suffering no real discomfort during the launch. No matter how many times I ride, this sequence remains a genuine rush. You get a sense of immense power and velocity without the violent shaking or spinning that comes with most thrill rides. The radius of the centrifuge is relatively large, and as the capsule is enclosed, so you have no external point of reference. Therefore, as long as you stay seated with your head back, you have no awareness that you are spinning.

At this point, I decided to push my science experiment to its logical conclusion. Even in my debilitated state, I was suffering no ill effects from the ride. But what if I ignored the safety instructions that they’d drilled into our heads? Was I truly willing to risk my life and health (and the clothing of my crewmates) in the name of science? You betcha!

Kids, don’t try this at home.

Do it at a friend’s house.

As the launch acceleration reached its peak, I lifted my head from the headrest. I leaned as far forward as the restraints would allow. And I swung my head from left to right, looking from side to side. Repeatedly. Exactly the way they tell you not to.

For a brief moment, this was almost a very bad idea. Tilting your head seems to make your inner ear instantly aware of the ride’s spinning. The sensation you experience doing this is immediate and powerful vertigo. Imagine sticking your head out the window of a speeding car, or leaning over the edge of a tall building. It’s a dizzying and disorienting experience. But it is not the thrill-ride equivalent of sticking your finger down your throat. I managed to lean back into my seat without doing the Technicolor yawn, and as soon as I did the vertigo disappeared.

As the blue sky beyond the cockpit dissolves into the blackness of space, you transition into the “zero-G” portion of the ride. For me, this is the most intriguing and most disappointing moment in the ride. Roller-coaster junkies know that high-G inversions and hairpins are fun, but airtime is life. We thrill for that brief moment of weightlessness you get cresting a hill. Rides like “Tower of Terror” and “Doctor Doom’s Fearfall” focus on giving us as much space between our butt and the seat as possible.

“Mission: Space” promised to raise the bar on airtime by giving us a few moments of “simulated” deep-space weightlessness. Instead, we get a bit of a cheat. What happens is that the centrifuge rapidly decelerates as the launch sequence ends. The massive pressure pinning you to your seat is released, and inertia pulls you slightly forward against the restraints. The psychological effect of this deceleration is a brief instant of a floating feeling. However, there is no genuine airtime, as your rear remains firmly attached to your seat. Perhaps if the cabin had been designed to invert you would get a truer sensation of weightlessness. I’m sure that would raise the upchuck factor by a power of 10, so we’ll just have to make do with what we get.

The moment of pseudo-zero-G is followed by the slingshot around the moon, which is nearly as intense as the launch. Then comes “hypersleep,” which is simply few seconds of quiet and darkness. Hypersleep is broken by sirens and flashing lights alerting you to an asteroid field. As the centrifuge accelerates the cabin pitches and rolls to simulate your ship swerving among the rocks. This sequence is about as dynamic as Star Tours, with the addition of G-forces less powerful than the launch. The movement, like everything in the ride, is smooth and well coordinated to the video. It is certainly less taxing than “Back to the Future” or “Body Wars.”

In the interest of scientific completeness, I repeated my head-leaning experiment during all the high-intensity segments of the ride. Again, you get a brief head-rush, but nothing as nauseating as the warnings might suggest. Try as I might, I was unable to give myself anything worse than a short spell of dizziness.

I should note that throughout the ride you will be asked to participate in the ride’s “interactive” feature. Each crewmember will have two tasks to perform. One of the two lights in front of you will light up, and Gary will tell you to push the button. If you do, there will be a brief sound effect. If not, a computer voice will announce a “computer override.” Either way, there will be absolutely no effect on your ride or its ending. You will get no particular praise or condemnation based on your performance. Every mission is successful, even if you deliberately fail in your button pushing. There isn’t even a score provided so that you can judge how well you did.

The final section of the ride begins with the decent into Mars’ atmosphere, similar to the launch and slingshot, followed by a gently swooping ride through the canals. Again, the movement is smoother and less jarring than most simulators. During this segment, you will be asked to grab the vibrating joystick (is that appropriate for a Disney ride?) and follow Gary’s instructions (“Left! Left! Pull up! Pull up!) Like the buttons, there is no punishment or reward for playing with your stick (yeah, that sounds pretty bad too). In fact, I’ve grown fond of pulling the stick in the opposite direction, just to see if I can cause a crash. No luck yet.

The ride ends in an all-too-familiar “near miss,” much like “Star Tours” and “Back to the Future.” You get a round of applause from Gary and his mission control cohorts. He invites you to proceed to the “advanced training lab,” and the screens slide back and the restraints release. Guests stumble out of their capsules and are herded down an unglamorous corridor towards the postshow area.

So, I survived. I determined, based on my non-double-blind single-sample experiment, that it is possible to ride “Mission: Space” while hung over without losing your lunch. The only close call came when I lifted my head from the headrest, and that discomfort was short-lived. My headache and stiff joints were still there, but the adrenaline rush of the ride was quite invigorating. Rather than feeling sick, I was ready to go another round.

At this point I conducted an unrepresentative, unscientific survey. Basically, I bugged every person coming off the ride to tell me how he or she felt. Reactions ranged from delight and enthusiasm to mild shakiness. Pre-teen kids seems the most excited, many bouncing up and down asking to go again. Their middle-aged soccer moms typically said “Once was enough,” but did it with a smile on their faces. I even saw a few grandparents who really seemed to get a kick out of the ride.

In several trips through the attraction, I only encountered one girl who did not enjoy her trip into space. She was a British tourist who was lined up in the pod next to mine. She was extremely nervous waiting for the ride, and the safety warnings seemed to agitate her more. It took constant reassurance from her family to get her into the capsule. Despite all this, she conceded that the ride was not as bad as a roller coaster, and she didn’t need to rush to the bathroom or collapse in the corner. I suspect a drink of water and a few minutes rest will cure the majority of ill effects caused by the ride.

I also cornered some ride attendants and quizzed them about the upchuck factor. All the CMs I asked said they’ve been averaging only one or two in-ride accidents per day. Some days go by with no puking whatsoever. This is comparable to other thrill rides and simulators. It is significantly less than the original version of “Body Wars,” which probably holds the title as Disney’s all-time vomit king.

As I said, this survey is based on too small a sample to be scientifically representative. But I expect these results to be consistent for most riders. Remember, your mileage may vary. If you are unusually susceptible to motion sickness, you probably won’t enjoy this ride. People with low blood pressure may have trouble handling the high G-forces (my ex-wife used to black out on the hairpin turns in “Kumba”). But if you can handle most simulators and modest coasters, you can probably handle “Mission: Space” just fine. Even people who typically don’t enjoy large coasters or rides like the Teacups might be surprised how well they can handle it. As long as you can remain calm and approach the experience with a positive, relaxed attitude, the ride should be well worth your time.

On my last trip though the attraction, I experienced the side effects of one of these rare ill guests. I was in the ready room, Gary had just finished his spiel on the overhead monitors, and we were waiting for the door to the curving corridor to open. After a few moments wait, the door behind us opened. A chipper CM informed us that due to “technical difficulties” we would be restaged in another ready room. One row at a time we were led across the room to the opposite ready room and lined back up on our numbers.

“Protein spill?” I asked.

“Yup, something like that,” the CM chuckled.

“How often do you have to do this?”

“First one today.”

Apparently, when there is a mishap they briefly shut down the affected bay for cleaning and restage the guests to another centrifuge. If the spill is minor they can clean it and get the bay ready by the next cycle. If there is a bigger mess, they can seal that particular capsule, allowing the rest of the cabins on that centrifuge to be used until there is time to disinfect. The cabin interiors are obviously designed to make this cleaning as efficient as possible.

Mission: Space Race, the centerpiece of the postshow,
brought to you by Chuck E. Cheese.

Once you’ve disembarked the ride and proceeded down the exit corridor, you arrive at the “Advanced Training Lab.” Remember Gary’s numerous mentions of the mission control training you will receive? See the colorful signs overhead advertising the “Mission: Space Race” experience that awaits? Expecting an interactive postshow on the scale of the classic Kodak ImageWorks, or Seabase Alpha? Or even the AT&T Global Village? Well, forget about it.

Instead, we get a modest-sized room with the aesthetic décor of your local mall’s video arcade. To the left is a Chuck E. Cheese-style gerbil maze for the kiddies, a simple “find the lost astronaut” video game that would get laughed off your Xbox, and a kiosk for sending email postcards. To the right is the centerpiece of the postshow, a large group game called “Mission: Space.” At the front of the room, 4 players per team play “pilots,” matching colored balls to “trouble spots” on a spaceship schematic. The rest of the team uses their “mission controller” computer consoles to generate the colored balls by pressing buttons.

C’mon kids, you can play your Playstation at home.

It’s like a very simple cross between Simon and Tetris, without being as much fun as either one. The results of the “race” are projected overhead. The results of the game are always suspiciously close, with both teams coming in within a point or two of each other every time. My personal best score as a “mission controller” is 24 points, but there isn’t enough replayability to make it worth waiting in line for more than once.

Beyond the disappointing postshow is the inevitable gift shop. In fact, the shop gets as much (if not slightly more) square footage as the postshow, which tells you something about Disney’s priorities these days. The good news is there isn’t much plush. The bad news is that the ride-specific merchandise is uninspiring, and much of the shelf space is taken up by junk that you can find in any mall.

Cheap crap! We gottcha cheap crap here!

So, what can we conclude from this rather long-winded tour of “Mission: Space?” What advice do I have for the weak of spirit (or stomach) who want to reach for the stars?

1) Relax. The ride is intense and unique, but it isn’t a medieval torture device. If you can handle most simulators and roller coasters, you can handle this. Even if the teacups make you toss your scones, you may be surprised at well you survive “Mission: Space.” Your own anxiousness is your worst enemy, so don’t get yourself too worked up over the safety warnings.

2) Keep your head back and your eyes front. Failure to do so isn’t a recipe for instant disaster, but it will make your head spin. As long as you stay properly seated, you won’t be aware of the spinning, only gravitational pressure, and you are unlikely to get disoriented.

3) Don’t sweat the button pushing. If you want to play along with the “interactive” element of the ride, go ahead. But if you don’t, you won’t be missing a thing. This isn’t “Men in Black;” there’s no such thing as a good or bad ending. If you are the kind of person who panics under pressure, and worries that you’re going to “fail” the ride, chill out and ignore Gary’s directives. It won’t make a bit of difference in the end.

4) Lower your expectations. If you are expecting a ride that blends the Disney tradition of seamless storytelling with amazing technology, you may be a bit let down when you only get half the equation. Instead, expect an amazing technological demonstration, with just enough theming to get the job done.

Disney took out a full-page advertisement (disguised as a news article) in this past Sunday’s Orlando Sentinel. In the ad, they repeatedly refer to “Mission: Space” as an “E-Ticket.” I have read other sources where they refer to it as the “first F-Ticket ride.”

The thrill of “Mission: Space” is genuine, intense, and original. It is something that you won’t find at your local Six Flags.

But, to my mind, it takes more than exceptional thrills to make an E-Ticket. It requires a great story that has a beginning, middle, and end. It requires attention to the small details that you only discover after dozens of rides. It requires an immersive environment that flows seamlessly from the queue to the preshow to the exit.

“Splash Mountain” is an E-Ticket. So is “Tower of Terror,” the last true E-Ticket thrill ride built at WDW. “Killamanjaro Safaris” is an E-Ticket, but a scenic one in the tradition of the “Jungle Cruise” rather than a thrill ride. “Spiderman” is certainly an E-Ticket, perhaps the first F-Ticket, but the “Hulk Coaster” is not, despite its impressive launch.

“Mission: Space,” by this standard, is not a full E-Ticket. Call it an E-Minus or D-Plus. A more consistent storyline, follow-through on the promised interactivity, and a better queue and postshow would push it over the top. Maybe if a clone is built in Tokyo they’ll give it the budget needed to use this amazing new technology to its fullest storytelling potential.

Until then, I’ll be happily getting my G-force fix, and bringing along something to read in the queue.

History

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

Published

2 months ago

February 6, 2025

Jim Hill

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

The Unlikely Beginning of a Marketing Sensation

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

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

A Dinner Conversation That Changed Advertising Forever

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

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

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

The Super Bowl Connection

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

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

A Marketing Triumph

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

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

A Lasting Legacy

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

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

Television & Shows

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

Published

3 months ago

January 12, 2025

Jim Hill

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

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

Matt Stone & Trey Parker Before South Park

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

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

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

Zucker Brothers

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

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

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

Zucker Brothers featured in "Your Studio and You"

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

Edgar Bronfman

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

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

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

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

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

Zucker Commissions Trey Parker for “Your Studio & You”

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

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

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

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

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

Filming “Your Studio & You” at Universal Studios Hollywood

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

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

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

Steven Spielberg, Jeffery Katzenberg, and Jaws

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

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

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

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

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

“Your Studio & You” Reception

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

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

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

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

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

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

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

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

Theme Parks & Themed Entertainment

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

Published

5 months ago

November 15, 2024

Jim Hill

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

The Very First Parade and the Early Days of Balloons

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

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

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

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

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

Duck Joins and Towers Over Mickey

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

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

A Somber Parade in 2001

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

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

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

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

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

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

Mickey’s Comeback as a Bandleader and Sailor Mickey

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

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

Macy’s Disney Celebration at Hollywood Studios

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

Minnie Mouse’s Long-Awaited Debut in 2024

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

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

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