My guest this episode is journalist and author Art Tavana. Art is currently a PhD researcher at the University of Southern California, focusing on Disney and fan studies. He also teaches courses on Disney and technology and serves on the editorial board of the International Journal of Disney Studies. Today’s conversation centers on Tomorrowland, a subject close to my heart. (The introduction to my book is titled “America’s Tomorrowland Problem.”) We’ll talk about its history and Disney’s new plan to reimagine the theme land, which we both hope will make Tomorrowland once again what the plaque at its entrance promised back in 1955: In this episode… * Walt Disney: America’s futurist (0:53) * The evolution of Tomorrowland (4:47) * How Tomorrowland lost its future (9:48) * Bringing tomorrow back to Tomorrowland (16:27) * Balancing Disney’s past and future (26:45) * Disneyland’s hidden gems (33:36) A lightly edited transcript of our conversation will appear in my Week in Review issue on Saturday. (Another option is using the Substack auto transcript function.) But here are some edited highlights from the chat: On the legacy of Walt Disney… He’s definitely a futurist. His innovations in audio-animatronics, his innovations in animation, his innovation in roller coaster technology. We really don’t have the jet-age aesthetic that Disneyland captured in ways that nobody had up until that point. There’s a really good book on this called The Jet Age Aesthetic by Vanessa Schwartz. And she talks about how Disneyland took that mid-century modern, retrofuturistic aesthetic of movement and jets and transportation and turned it into an attraction-centered experience that really changed the way we as Americans view technology and experience. So I think that is a foundational accomplishment: He revolutionized blending technology with experience in a way that I think is literally our society today. On the evolution of Tomorrowland… In the early 70s–mid-70s, Tomorrowland goes away from the practical, realistic future to more of a Jules Verne [style future]. Disney starts narrativizing the future as more fantasy-based. And so that’s when we move from Tomorrowland as a space to exhibit the future to a space to exhibit the fantasies of the future, which sometimes are the future. Like, sci-fi is kind of a prediction of where we’re going in our society often. But anyway, so that happens in the 70s, and it carries over into the 80s and 90s and even the 2000s. And then that’s when IP becomes the feature. So now what we have is, like, IP and a fantasy of a sci-fi future. But I truly believe, the new Tomorrowland that we’ll probably see in the next four to five years is gonna be more of what people saw in the early Tomorrowland, which is a bit more like a technological exhibition hall, World’s Fair-style park. Now, that’s me being optimistic and hoping for things, but I don’t know if that’s gonna happen. On Tomorrowland’s lost techno-optimism… We’ve become a very techno-negative kind of culture. Techno-optimism, I think, should be focused on tomorrow. I don’t think Tomorrowland should be skeptical of technology. I think Tomorrowland should embrace technology and should be narrativizing it into really fun, engaging, and interesting experiences. Now, educational rides—or attractions, sorry, I always say rides, and you’re never supposed to do that in Disney-speak. But seriously, I think that educational attractions don’t necessarily work anymore. I don’t think they really connect with people. But you can narrativize them in interesting ways and build technology and optimistic, sort of, you know, experiences at the parks. And I think Tomorrowland should be focusing on a view of the future that is embracing the things that are interesting right now, which I think a mission to Mars or some sort of Mars-centric experience should be part of Tomorrowland. On using storytelling to showcase innovation… Well, see, Disney’s magic is going to be—and I think they can do this, and they’ve done this before—they have to really be able to narrativize that world without making it sort of feel dystopian or feel like something that needs to be critiqued. A WALL-E sort of—the Olaf animatronic, the free-roaming Olaf in Paris that uses a lot of AI tech. That’s the sort of way you do it, where you bring it in through the kind of characters people love and experiences people really love, and you showcase the sort of innovation without didacticism. The problem is, the moment you do something where we’re trying to teach you or educate you through ideological sort of baseline preferences and things, that’s when it becomes, I think, a problem for the parkgoer. You know, Disney doing didacticism doesn’t work. It doesn’t work in its movies. It sort of worked in the park in the early era of the park, but it doesn’t really work anymore. They can kind of do that with their story department, but they haven’t done a good job. On balancing nostalgia and progress in Tomorrowland… But in terms of nostalgia, I think when you go to Tomorrowland, the first thing I think of, at least, is Space Mountain. And I think that will be there, and it will be there as it is for the most part. Maybe expanded, but yeah, it’s hard. Retrofuturism is part of Disney’s identity, and the jet age and the mid-century sort of... But how do you keep that without being too old-fashioned? Because Tomorrowland has to be the future. That’s the one part of the park, to me, that doesn’t need to be sort of too preservationist. That’s the one part of the park, to me, that needs to move forward aggressively. And of course, Autopia, one of the original attractions. That is not going away, right? On underappreciated Disney attractions… Autopia, to me, is so underappreciated now, especially since it’s sort of become a dated feature of the park. But I think the fact that you can get in an automobile, a small automobile, and drive on a freeway with kind of free rein to do what you want is special. I mean, it’s not complete free rein because you’re on a track, but you’re smelling the gasoline, you’re smelling the freeways. This attraction, to me, is still the closest thing to the original Disneyland feel. I think that’s such an underappreciated attraction. It isn’t on anyone’s list. If you look at a list of favorite attractions, Autopia is rarely on it, but it’s on mine. I love the smell of it. I love the energy of it. I love that it’s in a corner of the park that not everyone really accesses. I think that’s really underappreciated. I hope that when Tomorrowland relaunches, Autopia is centered as an important part of its future, not just a side attraction or an old nostalgia point. On sale everywhere: The Conservative Futurist: How To Create the Sci-Fi World We Were Promised This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit fasterplease.substack.com/subscribe