The Problem With Plot Part 2 (or, How I Couldn't Come Up With A Clever Title)

In the last entry, I skimmed upon the topic of plot in Disney attractions. The most important aspect of immersion is what story you have to tell; obviously no one wants to ride a roller coaster based on "Barton Fink". When Disneyland first opened, the rides there weren't rides, they were shows. All of the standards of film making - pacing, action, plot, performances, etc. - were present in these attractions. The concept of sailing into the port of a town under siege by ruthless pirates wouldn't be as exhilarating if none of them were yelling and firing off rounds. The thing that separates Disney from any run-of-the-mill amusement park is the careful attention to detail in the plot.

One of the oldest and most important (to me) aspects of telling these tales is what you see while you're waiting for the actual thing. Most parks (Six Flags, for example) have more of a "cold-open" feel, in that you wait in a line that literally tells you nothing about the experience to come. Contrarily, Disney (among other parks) has a highly detailed pre-show area for nearly every attraction. The queue area is what hooks the audience, immersing them in the world they've just entered. One of the best examples of a pre-show area is "Pirates of the Caribbean". The highly detailed walk through a Spanish prison heightens a mood of foreboding, especially evident through the lighting and sound effects in the distance.

Jumping ahead into the 80's, attractions like "Star Tours" and "Big Thunder Mountain" carry on this tradition, with the former giving a brief video presentation toward the start of the ride. The queue for "Star Tours" is a wet dream for any fan of the series, and it's here where the careful attention to detail and mood make the experience much more memorable. Everything, from the crates passing overhead to the subtle silhouettes flashing on the window, is done to make you genuinely feel like you're no longer in an everyday theme park. "Big Thunder", like "Pirates" or "The Haunted Mansion", utilizes a much subtler method, allowing the guest to discover plot points on their own (while the stretching elevator in "Haunted Mansion" is a little more straightforward, there is much more story to be found in the setpieces themselves).

The 90's brought two of the most popular attractions at Disney World, with some of the most memorable pre-show elements. "Splash Mountain" recreated the home of Br'er Rabbit, tucking away special elements in a fashion that suggests that the designers wanted people to find them, not have them shoved in their face. "Tower of Terror" recreates the lobby/boiler room of the Hollywood Tower Hotel, and even goes so far as to creating a dead-on "Twilight Zone" opener. This show is where a visitor can find some of the greatest executions of atmosphere in a theme park. From the cobwebs on the suitcases to the appropriate look of the freight elevators, you can tell a lot of research and hard work went into this area - and it pays off.

So what's the state of the pre-show now? Let's look at a more recent addition to EPCOT, "Mission: SPACE".

As you can tell from these images (courtesy of wdwinfo.com), everything here seems a little.... big. And by "big", I mean "fucking huge". There isn't much subtelty here, is there? Don't get me wrong, I don't mind the queue, but it seems like there's a distinct lack of small detail present. Even the clever reference to "Horizons" seems to be up in your face, like it was put there for a 6-year-old to find. The problem is a 6-year-old will have no idea what that means. Also, there are FAR too many pre-shows here. We have the outer area, then the 1st waiting area (with the gravity wheel), then the area where you're waiting to be put in the next waiting area (where you see Mission Control -- the only part of the queue with any sort of nuance), then the area where they show the pre-show film, and then the area where you wait to get in the vehicle itself. That's four separate queue areas. Then we have the post-show, but I'll get to that in a minute.

Another attraction, "Buzz Lightyear's Space Ranger Spin" (which, by the way, just recently celebrated eleven years of operation -- eleven!), doesn't give you much to look at while you wait. The atmosphere itself is fairly cold and dark, and it seems as though most of the attention was spent on the giant animatronic Buzz figure standing in your way, spouting 3 different sentences every two minutes.

While the "'Mission: SPACE' Rule of Making Your Pre-Show Huge" effect is indeed becoming more evident, it isn't necessarily a bad thing. Shows like "Midway Mania" certainly make it work; you are a toy's size, after all. There's also no shortage of eye candy to look at while you're in the (never-ending) line.

Subtlety isn't dead, however. There are some shows that effectively allow you to draw your own conclusions about the story. A prime example is "Expedition: Everest", where the pre-show is a carefully detailed replica of a small Asian town, complete with a Yeti Museum. The attention to detail here is almost unparalleled; while you wait in line, you're free to draw your own conclusions as to what this journey is, why you're here, and what could possibly be so bad about the Forbidden Mountain's "guardian". The queue alone makes this worth riding more than once.

Alongside the pre-show element of storytelling, there's also the way the show wraps itself up. Traditionally, the story ends on the actual ride portion, and you're whisked into a gift shop where you can see your onboard photo. There are some attractions that try to add in a little more to that experience, through the post-show. The earliest post-show is found in "The Haunted Mansion", where - after you've walked outside - you can still find visual clues concerning the story of Master Gracey and his lovely ladies. Similarly, there are more tidbits of story exposed after riders disembark on "Dinosaur" (was the Iguanadon in the car with us?), as well as "Mickey's PhilharMagic", and " MuppetVision 3D". Some preshows, however, are a little lazy - or worse, corporate shills. Take "Mission: SPACE", for instance. When you leave your X2 simulator, after a harrowing landing on the surface of Mars, you are given the most underwhelming and anticlimactic post-show imaginable. A solid-white hallway that sometimes never ends (depending on which pod you were in). Add to this a song that sounds suspiciously like something you'd hear over the end credits of "Con Air", and you have the post-show's beginning.

Sound interesting? No? Well, wait 'til you see where the hallway leads! After walking for several minutes (hours?), you are launched into what can easily be perceived as the arcade that the Foot Clan owned in the first "Ninja Turtles" film. There's a giant screen with a group of tourists playing against each other to....do something, and various other pointless space-themed junk. Guess who has their branding slapped all over it? HP!

We also have the post-show to "Test Track", which is like being dropped into the set of a Michael Bay movie. General Motors owns this area, which serves as a show floor for cars we'll either a)never be able to own, or b)never see on the market. More corporate whoring! At least that dreaded OnStar "Dream Chasers" shit isn't there anymore...

I understand that companies put a lot of money into these attractions, and expect to have some sort of profit returned through advertising. However, that doesn't mean that all originality and creativity can be stripped when creating these areas. It not only looks tacky, but it completely shatters the illusion that people have painstakingly worked on to create.

Some may perceive the lack of creativity in pre-shows for more current attractions as a sign that the company is losing faith in their ability to tell stories through these shows, but as long as we have the likes of "Expedition: Everest", maybe we can see that as a sign of pre-shows shifting back into the more detail-driven waiting areas we had years back.

What are your thoughts, humble readers? Do you have a favorite or despised pre-show?

The Problem With Plot

One of the things I love most about Disney parks is the fact that elaborate stories are always present in one way or another. Almost everything in the parks has a back story, no matter how much visitors know about the source material. However, in the last few years, story has slowly taken a backseat to interesting and cutting-edge effects, as well as keeping the attention of the audience. Where there used to be attractions with fantastic subplots and enough background story to fill multiple attractions, there are now many elements of the parks that have visitors scratching their heads, wondering just what the fuck happened.

Let's take a brief look at the show I always pick on, "Stitch's Great Escape", which I consider to have some of the worst and laziest show writing in the history of Disney parks. The plot to Flight to the Moon/Mission to Mars was simple: You were going from Earth into outer space. The plot to "Alien Encounter" was a little more complex, but still simple: You were viewing a demonstration of XS-Tech's technology in a live, intergalactic demo. Now, let's get to the "Escape". Where, exactly, are we? Are we in space or on Earth? We must STILL be on Earth, since the show doesn't tell you at any point that you've somehow traversed the galaxy by walking into the preshow lobby. Why does Stitch (who calls himself "Stitch", despite the fact that this is a prequel to the film) go to Florida, if that's where we already are? Surely you can't claim that suspension of disbelief is called for, since Disney World plainly exists - Stitch either goes into Cinderella's Castle or on the Astro Orbiter. Also, since we're recruits for the security program, why are we strapped down for the entirety of the show? What kind of prison keeps the guards locked in their seat while the prisoner is in the room with them?

SIGH.

I get tired of talking about that fucking show so much. Let's try another one.

-One of the things that's always confused me about Mission: SPACE is where, exactly, we are. We're on Earth at the beginning, and I'm pretty sure this is a flight-training program, isn't it? So why are we on Mars at the end? Lieutenant Dan very plainly says "welcome to Mars", right? What the hell is going on?

-DINOSAUR has visitors going back in time to save an Iguanadon from extinction, for....what reason? The character of Seeker tells us that the specific Iguanadon we are to save (he marked it with a tracker, which makes you wonder why he couldn't get it himself) holds "the key to understanding these magnificent creatures." ....What? Wait, huh? Why that one, specifically? Also, I assume that the time travel would have been tested before they allow us to ride, so couldn't this have been done several times in the past? Also, why did we go back to the point in time where the asteroids were literally hitting the planet? Despite the fact that I love this attraction, it still makes no sense.

...The list goes on. Many would complain that these plot problems are easily forgivable, considering that these are theme parks. But just as people pay money to see a film with a coherent plot, some people (like me) enjoy getting the same out of these attractions.

There's an infinite amount of story floating around Disney World, and some of it isn't even told. Take this story found on Wikipedia (but paraphrasing a story told in the Hyperion book "Walt Disney Imagineering") about Blizzard Beach, for example:

"The theme of the park is the "Disney legend" of a freak snowstorm in the area, leading to the construction of Florida's first ski resort. Naturally, the snow didn't last long, leaving behind a collection of waterlogged but snow-less ski jumps and chair lifts. The failed resort was in the process of closing for good when an alligator was seen sliding down a flume and splashing into a pool of water, screaming "Yahoo!" Thus the "ski resort" was reborn as a water park, with the alligator (named "Ice Gator") as mascot."

No one really HAS to know that information, but the Imagineers cooked it up, anyway, just in case people were curious about why there's a blizzard-themed water park in central Florida. The same goes for "Big Thunder Mountain" (from the same source, though this excerpt is missing a bit of story told in the book):

"Some time in the late 1800s, gold was discovered on Big Thunder Mountain in the American Southwest. Overnight, the small mining town [of Tumbleweed] became thriving mining towns. Mining was prosperous and an extensive line of mine trains were set up to transport the ore. Unbeknownst to the settlers, the Mountain was a sacred spot to local Native Americans and was cursed. Before long, the settlers' desecration of the mountain caused...a flash flood, which befell the mines and town and they were abandoned. Some time later, the locomotives were found to be racing around the mountain on their own, without engineers or a crew. The Big Thunder Mountain Railroad was founded in the old mining camp to allow tourists to take rides on the possessed trains."

There's no big video that tells you this. There isn't a narration, or anything of the sort. It's just backstory created for the purpose of good storytelling.

While some of the attractions made currently have interesting and creative storylines (I've always thought the Laugh Floor Comedy Club did an ok job with the story), attractions today seem to either eschew plot or throw it together as quickly as possible.

Next time, I'll talk about the art of pre-shows and post-shows, and where they are now. Until next time...

Analysis: "The Princess and the Frog"

Welcome to 2010, everyone! Hello, new and exciting clean slates! So long, trashy "aughts" sunglasses!

Whatever shall we do without them?

So, I promised a review of "A Christmas Carol" a few weeks back, and didn't come through with it, mainly because I didn't have much to say about it other than what'd already been said. I personally didn't like any aspect of it, most especially the motion-capture that makes the film look like a PS3 game.

Anyway, I got to thinking about the fact that I really don't have much to say when it comes to writing critiques like these, because I find that 90 percent of the time what I have to say has been said a million times over. However, "The Princess and the Frog" is a very special film - finally, a break from CGI and 3D! - so I'll try my best to be as original as possible in this piece. Also, I'm going to be speaking under the assumption that all reading have seen the film, so...

BE WARNED, MORTALS....SPOILERS ARE LURKING.

So let me just say this - I truly loved it. It's one of the better animated films Disney's released in the past decade (that's right, "Treasure Planet"), and I'm glad it's had the success it's had so far. Also, praise to Jennifer Cody ("Lottie"), who pretty much knocked it out of the park. It's also rare that you have a character like that and NOT have her be a bitch. Just sayin'. Also, I loved the animation. It was absolutely beautiful, especially the "Almost There" sequence. Now that that's out of the way...

1) The film didn't necessarily have any strong emotional ties for me. I didn't really care all too much about any of the characters or their motives. At least in the films of the "Disney Renaissance", I cared about the outcome. Here, I wasn't necessarily aware of the risks. Granted, the characters were likable, but I wasn't too interested in the character arc of Ray the Firefly. I felt no major emotional investment.

2) The film follows too closely to the aforementioned predecessors. There's the recurring theme of the child trying to live up to the expectations of the parent (Ariel and Triton, Belle and Maurice, Simba and Mufasa, Pocahontas Powhatan, Mulan and Fa Zhou, etc.). There's the outspoken young woman who doesn't know the true meaning of ____ until ____. It's all predictable to a degree - which isn't so bad - but despite the mimicking of those great 90's films, it doesn't bring anything new to the table.

3) The side characters were, while funny, almost pointless. Louis the alligator feels too tacked-on, and doesn't really progress the story. At least Ray got them to Mama Odie; Ray couldn't even do that. If the character didn't exist, the film would only have lost some comical moments. Nothing else. Also, I can't see either of those characters being too popular for years to come. This isn't necessarily that important to the overall enjoyment of the film, but it seems like the folks behind it intentionally added characters just for this purpose.

4) The villain was too unoriginal for my tastes. While Keith David did a fantastic job voicing him - and sounded like he had a lot of fun doing it - the character seemed to me to be too much of an amalgamation of other Disney villains. If Jafar and Hades had a black child, this would be the outcome. Even his demise was too similar to that of the "Hercules" heavy. I feel like his motivations were too one-dimensional and lacked complexity.

5) There were only 1 or 2 musical numbers that I had stuck in my head after watching. The film's songs seem to never reach their full potential, almost as if they're stopped short before a big climax. While well-written, there are no show-stopping, "Hakuna Matata"-esque numbers here.

6) Finally, I couldn't really tell what the moral of the story was. Was it "Be yourself"? "See others for who they are"? Or was it "Hard work equals great reward"? There seemed to be so many here that the number of messages numbed me to their importance.

I was honestly expecting this movie to be a minor footnote in the annals of Disney animation, but I was pleasantly surprised to find that this film is a genuinely sweet, heartwarming, and funny ( I don't laugh that often in the theatre, but this film had me once or twice) film that fortunately wasn't bogged down in the negative attention or the shadows of it's bigger siblings. It's not perfect, but it's definitely a step in the right direction.

Just a reminder...

....Today is Walt Disney's birthday. He was born 108 (!) years ago today, December 5th.

Expect a review of Disney's "A Christmas Carol" in the coming days.

Brave New World

Walt walked through the gates of Magic Kingdom, wiping the sweat from his brow on the hot July afternoon. He made sure to take slow steps, taking in every crack and crevice of the concrete he was walking on. He smiled at the thought of people's names inscribed into the ground leading into this, the culmination of his life work, at the heart of which sat an enormous castle - an actual castle, by God - colored blue and white.

He wondered why there were men checking bags.

He walked through the turnstiles and breathed deep. He closed his eyes and, one last time, envisioned the same image he had when he came up with the idea of the Magic Kingdom. He opened his eyes, and laughed to himself. He kept walking at the same speed as before, taking in every minute detail. People were rushing, he noticed. No one noticed the fountain on the left. No one noticed how neatly the shrubs were cut. No one saw the names in the windows! No one even cared to notice the subtle change in theme as they moved from one land to another. Walt was puzzled - not troubled, but a little puzzled. He moved through each land, soaking in every step he took. If he could spend a week in each land, he would. He loved how the Cinderella fountain made men appear to be bowing to her. He loved the look on the faces of the kids as they searched for the ring in the front of the Haunted Mansion. He loved those orange rocks in Tomorrowland. They reminded him of Mars. He didn't know who Stitch was, but he certainly admired the work that went into convincing so many people they were being licked, or breathed on.

He sat on the curb, and watched the parade.

As Walt went into the MGM Studios, he couldn't help but be overcome with a feeling of nostalgia. He always loved the Golden Age of Hollywood, and here it was. The Hollywoodland sign gave him a rush of memories. He loved the dedication here -- the feel of old Hollywood. The camera store; the giant model of Gertie near Echo Lake; the Chinese Theatre in the distance. He didn't prefer the giant Sorcerer Hat blocking the view. "Too much," he thought. He marveled at the sophistication of his animatronics. How the Imagineers had come this far was beyond him. The Wicked Witch of the West, he thought for a moment, was a real actress! It wasn't until a second later that he'd realized the movements of the woman were a purely evolved form of what he helped to create. He stayed until night and watched Fantasmic!. He teared up at the finale, watching everyone cheer and rave for Sorcerer Mickey. 80 years later, and the Mouse is still as popular as ever. He walked under the Crossroads of the World, straddled by Mickey, and still couldn't shake how amazed he was by the show.

The next morning, he headed into Animal Kingdom. He loved the feel of it all - it was wholly reminiscent of his work on True Life Adventures. He stayed for what seemed like an eternity at each area, observing the animals, and observing others' observations. He rode Kali River Rapids, and got soaked, which was nice in the summer Florida heat. He watched the 3d film within the Tree of Life, marveling at how far the technology had come. He wasn't sure about the scariness, though -- some of the kids didn't seem to care for it too much, to say the least. He gazed at the Tree before and after the show, trying to spot each animal carved into it. He peeked around Dinoland, USA, and Camp Minnie Mickey. He rode Kilamanjaro Safari, which was his favorite in the whole park. If he could ride this all day, he would. "An attraction that never stays the same," he said to himself. He thought it perfect. He stayed there until the park closed, then went and thought long and hard.

The next - and final - park to visit was EPCOT. He was intentionally saving it for last. Part of him was worried that what was currently known as EPCOT had drastically deviated from his original vision. After all, without EPCOT, there was no basis for Disney World as a whole. The other part was incredibly excited, and knew that no matter what, his dream was in good hands.

He stood outside the gates, for what could have been ages. And yet, the excitement within him was uncontrollable. Any doubt he'd had about this park instantly vanished when he saw Spaceship Earth. He spent the entire day looking over every inch of Future World alone, and spent the next day at World Showcase. At the end of his time there, he left the park, and walked towards a young man in a blue shirt. He was constantly drying his hands on his pants up until the moment he shook hands with Walt, at which point he asked him how he liked the parks. Walt smiled and said, "Let's have a talk."

He sat in a chair in a well-lit room, across from 30 or so Imagineers, each of them top of their field; the collective conscious of the Imagineering community. "There have been a large number of complaints," they said. "People feel we've been deviating too far."

"Well," Walt began, "you have a lot going for you. This whole resort is amazing. But I can't help but wonder why you all seem to have such low confidence in yourselves."

"The people are split -- they demand improvement, but don't want change," they said. "Everything here is a byproduct of those concerns, and it's getting terribly difficult."

"But change is necessary," said Walt. "The whole concept of these parks is dependent on the notion that evolution is the greatest factor. Without it, this dream is nothing."

"People complain, though, that they want what was there before. How can we evolve if there's only monotony?"

"Evolution does not mean 'to restart'. It's simply 'to grow'. It's the same core, but a constantly shifting structure."

"We can't help but feel like there's a different motive," the Imagineers said. "Take Horizons, for example. As outdated as it was, it needed a change. People still complain about it! Do you not think it's somehow rooted in their concern for their childhood? As if a piece of it was removed?"

"Of course it is!" said Walt. "Memories are the key factor in these parks. It's the memories that keep people coming back. You will always have people show concern over returning somewhere, only to find that their fondest recollections have been completely wiped clean."

"There are also those who feel like we sacrifice story for technology."

"In many cases," said Walt, "technology IS the story. Think of Carousel of Progress. But it's true; a good story is never solely comprised of the newest advancements. They need to complement each other."

"But doesn't the technology possess more of a symbiotic relationship with the story? We could easily tell the same story of Star Tours without the ride technology we have in place there."

"Yes, but it isn't about telling the story. It's about immersing the guests. One of the shows in the Studios - The Great Movie Ride - the story could never be told without the concept of immersion. If not the illusion is broken - you're simply watching a movie. The story helps create the world. The technology helps transport them there."

"But is that making people happy? Are they enjoying themselves in these worlds we create? For every person who leaves the parks unhappy, there's another instance where we haven't done our job."

"A lesson I've learned in all my years of working in entertainment is that there's simply no way to please every last person. You will always have to deal with a sole body of criticism at any point, and that's something you can't help. You have to press on, and do what you know is your best work. My second night here, I sat in the Brown Derby and watched a young boy at dinner with who I later found out to be his Aunt. Every time I looked up at the young man, I saw him with a huge smile on his face. He simply was amazed. He was in the middle of this magical world, outside of any troubles of the real world, completely immersed in what you all have created. I approached his table after several minutes, and introduced myself. I met the boy's Aunt, and shook his hand, thanking him for making my day.

"That boy will have nothing but fond memories for that trip for the rest of his life, and you all helped make those memories for him. If you can help cultivate that happiness, that growth of imagination, in at least one child, then you're on the right track."

Walt stood up to leave, and shook hands with each of the men and women, and left. He himself looked forward to returning in the future, if not to see how this World has changed.

And thus, I eat my own words

So I was wrong. Wrong! I'm not perfect. However, as of D23, there are a few lights that have been shed on us that have forced me to acknowledge the fact that any speculation I've had in the last month has been wrong.

As most of you know, D23 held a conference concerning the theme parks yesterday, and 2 MAJOR points were brought up (pretty much the only points). There were a ton of rumors that circulated concerning the Expo's conference, and I felt it was necessary to address the BIG one that was popular amongst the rumor-mongers: a Fantasyland expansion. "The size makes no sense," I said. "Where's the money to pay for it?" I thought it was preposterous. So naturally the Expo comes along and kicks me swiftly in the ass.

Yes, there WILL be a complete overhaul of Fantasyland. Hell, "overhaul" doesn't even begin to describe it.

Essentially, Fantasyland will become something more in touch with, well....fantasy. From the press release:

"Guests will soon be able to:

• Visit their favorite Disney Princess in her castle, cottage, or chateau to share a dance with Cinderella; celebrate Sleeping Beauty's birthday with the Good Fairies; or join Belle in an enchanting story performance in the Beast's castle library.
• Be Our Guest and dine in one of three enchanted rooms inside the Beast's castle.
• Fly with Dumbo high above brand new circus grounds, twice the size of the existing attraction with a new interactive, three-ring circus tent.
• Journey under the sea with Ariel, The Little Mermaid, in her very own attraction - also opening at Disney's California Adventure in Anaheim in 2011.
• Meet Tinker Bell and her friends in the magical world of Pixie Hollow."

Sounds pretty nifty, even though I probably won't spend a shitload of time there, seeing as to how I'm allergic to children and all. The Dumbo ride itself sounds pretty fucking awesome, though, and the idea of (according to wdwnewstoday.com) a ride that is "completely queue-less with a waiting area set up with bleachers for parents...waiting until their feather is called" sounds like a helluva way to avoid waiting in the heat. Also, the concept art for Ariel's Adventure looks like it will a beautifully-themed ride. All in all, I'm excited for this change to take place, because the Fantasyland area definitely needs some pizazz. As long as Philharmagic stays put, I'll be a happy camper. Again, I don't have kids or anything, so I don't expect to spend a lot of time here, but it most certainly will become the best-themed land in MK once it's all done.

Also, "Star Tours II" was FINALLY announced, after what seemed like years of speculation. I, for one, am somewhat excited about this...somewhat. First, let's take a look at the teaser.

Now, when rumors began circulating concerning a new Star Tours, most of them were set on the idea of a podracing simulator. However, the last time anyone saw a podrace in one of the films was when Episode I came out, so needless to say those rumors quietly went away. This video, however, brings that idea back into the spotlight, and it makes me a little nervous. What if it is really just a podracing simulator?

Thankfully, I have an optimistic side.

Firstly, most of the news concerning this ride mentions that multiple adventures are to be had, and that the StarSpeeder would still be involved. Also, take a look at this press shot:

What does that look like on the right side? A motherfucking StarSpeeder. It's safe to assume the ride will probably have your shuttle take you to multiple locales, one of which being the middle of a podrace. It serves to explain why you go flying into space at the end of the trailer.

...And that was it. The end. Only those two. Unlike what MJ's website had reported, there is no official plan of bringing Captain EO back right now. It may be in talks, still, but it's all in the air. Also, EPCOT (as usual) got the boot; it seems that EPCOT and Animal Kingdom will be stuck while these other two projects are underway. For now, though, it appears as though the parks will be a little busy for the next two years.

A small update

It's official: Captain EO is coming back to Disneyland. The official MJ website confirms:

http://www.michaeljackson.com/ar/node/200089

It'll be a limited engagement, so nothing to get too worked up about. I personally like the fact that this is happening; with any luck we'll be able to get it in EPCOT too, even if it's just for a season. Also, it'll be interesting to see how this all plays out toward HISTA. It's possible HISTA won't be coming back after EO's run, which could inevitably lead to its demise at EPCOT, as well. I guess we'll see....

Thoughts?