Sure, the gun-blasting dark ride through the Nostromo was out – deemed too intense and too violent for Disneyland. those Mission to Mars theaters, still playing a tired film from the '70s at both Disneyland and Magic Kingdom. Which brings us to the secret ingredient: Take a dash of Michael Eisner's obsession with cool, hip, edgy, cinematic attractions – and his willingness to fund them add two outdated Tomorrowlands, each needing a full reimagining mix in a requirement that those New New Tomorrowlands needed to be the last facelifts for the lands – timelessly rooted in fantasy, history, or fiction knead in the bleak futurism of the '80s shaped by Star Wars and Alien and finally, add a dash of Imagineers' covert plans to bring Alien to Disney Parks.īlend it all together and that newest generation of Disney’s designers had developed a win-win concept that would terrify teens, impress Eisner, and keep costs low. Standing in the early 1990s, we've collected all the ingredients we'll need. By being rooted in the past, this was a "Tomorrowland" that would never need updating! It was timeless! And so, the race was on to design similarly evergreen styles for the Tomorrowlands in California and Florida. Replacing rockets and saucers with zephyrs and the Nautilus, the land even had its own Lost Legend: Space Mountain - De la Terre á la Lune, interpolating Jules Verne's novel of the same name.ĭiscoveryland didn't even try to predict the actual, scientific advancements of tomorrow, or to imagine the architecture and attitudes of the future. Tomorrowland, for example, was entirely missing from the European park's lineup, replaced with Discoveryland – a land inspired by great European fantasy writers. Given the extensive reimagining needed to make the park feel at home in Europe, designers had gone back to the drawing board on many Disneyland staples to sap the inherent Americana in favor of a more European-friendly literary romanticism.
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