When vacation makers and holiday planners consider Orlando, Florida, it’s likely that their treasured memories of the swampy, central city don’t involve military technology. But prior to the ambitious launch of Walt Disney World in 1971, much of Orlando’s burgeoning industry revolved – along with citrus fruit –around the Martin company’s post-war missile manufacturing, including Cold War favourite the Pershing. Its technological roots are still present, but the most vicious and visible commercial battles in Orlando now aren’t being fought between contractors and nations, but between two of the biggest theme park operators in the world.
Each year, Walt Disney World attracts just shy of 50 million guests throughout its four theme parks, two waterparks and hotels on its vast, often impractical 47-mile sprawl. New York Giants quarterback Phil Simms started the tradition of the Super Bowl MVP uttering the now well-worn phrase “I’m going to Disney World”, but today it’s just as likely he might take a detour to Universal Studios instead. Opening in 1990 within driving distance of the Disney property, Universal was seen as the hipper cousin to Disney’s relentless cuddliness. The latter has been known to affectionately mock The Mouse House, whereas the traditionally uber-polite Disney company has hardly ever acknowledged its looming competitor.
As early as 1993, Universal and its then-owners MCA had announced a huge expansion of the park, even though the robotic rubber sharks in the signature Jaws ride were proving to be an ongoing headache. The company had begun to purchase large pockets of land formerly owned by Lockheed Martin themselves, although unlike Walt’s timely 1960s American dream, this contemporary resort was to be tight, accessible and urban, as reflected in its initial title, Universal City.
By the turn of the millennium, as Universal Escape, the single park was suddenly a resort incorporating its own hotels and nightlife. But the centrepiece was Islands of Adventure, an impressive but mismarketed “next generation theme park”, which was overseen by Steven Speilberg. While not quite a flop, the general feeling was that Universal would always struggle to compete with a hospitable rodent.
That changed in 2010, when Universal successfully rendered JK Rowling’s behemoth series of books and films into The Wizarding World of Harry Potter, a vivid recreation of the franchise’s Hogwarts school and village. At long last, Universal finally had a castle all of it’s own. This was followed in 2014 with Diagon Alley, an arguably even richer experience in the original park next door.
“If we’re just talking about numbers, then Disney are still on top and way out in the lead,” explains Seth Kubersky, a former Universal employee who’s since embarked on a healthy career assisting visitors in navigating the area’s smorgasboard of thrills and characters.
He added: “General Electric, who seemed to have very little interest in growing the parks, took a very brave gamble in luring JK Rowling away from Disney, who definitely wanted her at one point.”
That move paid off massively according to Kubersky, with Universal recouping half of their expenses within six months, when they had projected that it would take half a decade.
Universal is currently constructing a contemporary version of its retired but fondly remembered King Kong attraction, as well as Volcano Bay, which promises to “redefine the waterpark experience”. Nintendo also just signed a deal to bring games such as Mario Kart and Zelda to life in Universal’s parks.
Meanwhile, down Interstate 4 at Disney, the major talking point is an impressive looking expansion to the Animal Kingdom park based on Avatar and it’s upcoming sequels, all overseen by James Cameron. And the boat ride in Epcot’s ageing Norway-themed land is currently undergoing a predictable, arguably unsuitable but doubtlessly profitable overlay into a Frozen-themed attraction. Traditionally, much of Disney’s devoted fanbase are concerned with the legacy of it’s founder – “What would Walt do?” is the shorthand query that emerges in the face of creatively negligent decision making. Hardcore Disney fanboys and girls will assure you that the company’s founder isn’t cryogenically frozen beneath Cinderella Castle as the rumour persists, as he’s far too busy spinning in his own grave.
“I think what’s ended up happening is that both companies are both playing different games with each other,” says Sam Gennawey, author of Walt and The Promise of Progress City and Universal vs. Disney: The Unofficial Guide to American Theme Parks’ Greatest Rivalry.
He added: “Critically, under the leadership of Steve Burke, who previously got Disneyland Paris going on a proper foot, Universal have adopted a very Walt Disney approach themselves. They have decided to create environments to become immersed in, that make people want to write home to their friends. Basically, ‘If you build it, they will come’.”
Gennawey believes Disney is playing something he calls the “capacity game” in order to come out on top. “Imagine a glass of water. Walt Disney would fill that glass, then pour another, and another. What Disney are doing now, is spending billions of dollars making sure that glass is full right to the top, and then they just stop.”
Disney’s latest investment comes in the form of something called Magicbands. This new, wireless system is the key to the abstractly titled MyMagic+, which aims to create an all-in-one resource on the arm of each resort guest (essentially, a piece of wearable tech), which allows them to make dinner reservations, book ride times, pay for food and access their hotel rooms with a flick of the wrist. In short, guests get convenience, and Disney gets data and commitment. Although the company insists that the staggering $1.5bn development didn’t err overbudget, the departure of several key figures in its development and some features that failed to make it to fruition suggest the process has not been easy. Might Disney just have been better off building some new rides?
“Whatever lemons they’ve made for themselves, they have to make lemonade. It’s a new paradigm they’re committed to – personalising, maximising,” explains Gewanney who, having tracked the corporate tension at Disney for decades, is certain that the current management will see MyMagic+ through. “What’s happening is that the middle class in America is shrinking, and they’re not going to make a major effort to pursue them, so they’re going for the premium. And if the middle class are left to Universal, then that’s probably OK.”
What’s more, Disney is in the somewhat surreal situation of not being able to play with its new toys in its own pen. When the company purchased Marvel for $4bn in 2009, it gained access to the comic book stable’s vast range of characters, mythologies and franchises. While its neighbour matures, Walt Disney World continues to thrive even if it doesn’t currently seem to match with Universal’s newfound energy and investment. Those tangible elements – the iconography, the castle, the fireworks, the mouse, “the magic” – are imbued with a nostalgia, a romance and an inclusiveness that no amount of Minions can replicate. Does the reigning king of family entertainment have any true cause for concern?
“What Disney has to worry about is not their profits in the next quarter, or their attendance numbers in the next year. But I think they should be concerned in the long term,” suggests Kubersky.
“Their brand has always been generational. The idea is that you came to Disney with your parents, so you take your kids there too. And so if Universal can provide a better experience for today’s kids, and those kids come home and that’s all they talk about, and that’s what they want to go back to next time, that’s a problem for Disney. When you’re looking 20 or 30 years in the future, then that’s a major influence. It’s a butterfly flapping it’s wings and causing a hurricane down the line.”
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