Theme Park Fandom

It’s Not ‘Weird’ to Be an Adult Woman Who Loves Disney
https://www.glamour.com/story/its-not-weird-to-be-an-adult-woman-who-loves-disney

The trio say they don’t go to the parks to relive their youth, though. Smith, Puga, and Walker all have successful careers in creative industries and approach Disneyland like a city’s downtown rather than a family-friendly vacation resort. They’re not alone: With a rotating offering of seasonal Instagram-ready treats, celebrity chef partnerships, and a record for being the single largest employer of sommeliers, Disney’s Parks & Resorts have a lot to entice adults with money to spend. To Internet savvy, culturally involved guests like these three, Disneyland provides the same experiences they’d have elsewhere, only better.

When asked about the stigma attached to adult women visiting the parks, they shut it down. As these three see it, everyone’s a fan of something—why should enjoying a roller coaster through space in an intergalactic Tomorrowland be so different? “People are always going to judge no matter what,” says Walker. “You just have to sort of own what you love and be proud of that. Maybe they’ll never understand, but they’re missing out on something pretty special, and that’s okay. More for us in the long run.”

I’ve been slowly making my way through Rebecca Williams’s monograph Theme Park Fandom, and it’s one of the best academic books I’ve read in years. In the Introduction, Williams opens the discussion by referencing a cringe-inducing opinion piece written by a gross older man saying that adult fans of Disney are creepy, which was picked up by College Humor and adapted into an even more cringe-inducing video.

I’m not personally a fan of Disney (or Marvel, or Star Wars), and I have no real desire to go to a theme park. (Maybe when Universal opens its Super Nintendo World attraction? But probably not, honestly.) Still, I don’t get why people think fans who go to theme parks are weird, aside from the obvious misogyny and homophobia. It sounds like the people who are into this sort of thing have a lot of fun, and they’re not hurting anyone. I mean, sure, Disney is a giant evil corporation, but we’re not going to get meaningful anti-trust legislation by harassing people on Instagram.

So I’m not planning on visiting Florida or California, but it’s been interesting to learn about the different subcultures surrounding the Disney and Universal theme parks, as well as how the fans participating in these subcultures have made use of social media to connect with each other while actually influencing the objects of their fandom at a surprisingly high corporate level.

I know “serious scholars” like to mock Fan Studies as an illegitimate subdiscipline of Media Studies, but I’m getting tired of “serious scholarship” about How Disney Is Anti-Feminist And Poisoning Our Children™. To me, it’s much more meaningful to learn about how this culture is created, who is creating it, and how it’s not just Rich White Men producing media that’s consumed passively. If nothing else, I feel that good scholarship should be like a documentary that shows you a part of the world you only vaguely knew existed and then explains how it influences its broader cultural context. Theme Park Fandom is really enjoyable to read, and it’s been helping me make sense of all sorts of aspects of contemporary American culture that I’ve always found a bit mystifying.

I’ve also been reading Carlye Wisel’s various bits of theme park journalism, and I’m a fan. I wonder, how does someone get a job like this?

Disney Doesn’t Need Public Defense

The Marvel Juggernaut: With Great Power Comes Zero Responsibility
http://cinemalogue.com/2019/11/18/the-marvel-juggernaut-with-great-power-comes-zero-responsibility/

Due to the clout of its ubiquity, AVENGERS: ENDGAME merits a deeper look. Its fundamental ideology is libertarian-conservative. Superheroes fight, but only up until the point they want to quit. They’re rewarded with the domestic tranquility of the heterosexual nuclear family (at the expense of the less conventional concept of “found family”). Every female character receives sub-par treatment, especially Natasha Romanoff—a childhood abuse victim incapable of bearing children, sacrificed in favor of a “family man” who commits (racially selective) extra-judicial murder without consequence. Untold trillions of lives lost as collateral damage in the aftermath of Thanos’ cosmos-wide “snap” are forfeit for the sake of one five-year old child of one billionaire on one planet.

The story quashes the political nature of its chief protagonist, Steve Rogers—created by two Jewish men to combat the rise of pro-fascist sentiment in a pre-war, isolationist America. Favoring a bigoted past over a present more aligned with Steve’s values, Marvel takes a vocal political force—a tireless fighter against oppression—and reduces him to milquetoast, Pleasantville made manifest. Adding insult to injury, Peggy Carter spectates this regressive resolution to Steve’s arc. She’s wordless, existing only for Steve’s gaze, her independent life overwritten to be his prize and a means to an end: the complete neutralization of an anti-fascist.

People are free to enjoy whatever they like, of course, but the Disney Corporation is no one’s friend.

Deep Water

The problem is that Disney has the brand recognition and the deep pockets to freeze out anyone else who tries.
https://earlgraytay.tumblr.com/post/186522860758/moral-autism-earlgraytay-okay-there-are

Any other time anyone does anything with fairy tales (or princesses, or talking cars, or talking fish, or pirates, or…) Disney can make their own version and sell it at a loss, driving their competitors out of business. They have more money than God. They can afford to lose money on one theme park, let alone one toyline or one movie.

The problem with Disney is that it’s a monopoly. And like any other monopoly, Disney can freeze out anyone who tries to compete with them. I think if you trustbusted Disney – left them with their animation studio and maybe their theme park division, but took away Pixar and Marvel and ESPN and all their television outlets and all the other crap they own – they’d have a harder time undercutting everyone else. You’d see more stuff based on folklore and fairy tales, and it’d have more than a snowball’s chance in hell of being successful.

One of the reasons I love Tumblr is because it gives me so many windows into subcultures I had no idea existed. Members of these subcultures often have unique insider information about things that most people probably take for granted, and it’s interesting to view the world from these perspectives.

I take everything I read on Tumblr with a grain of salt, but it’s still fascinating to learn about, for instance, how groups of people devoted to doll collecting see Disney as using its enormous amounts of capital to monopolize and then destroy the market for toys targeted at young girls. Whether Disney is actually doing this (as they most certainly are) is immaterial; what’s worth paying attention to is that resistance is coming from a subculture that most people would probably assume would be supportive of Disney.

I routinely encounter posts like this that help me remember that the culture I’m familiar with is just the tip of the iceberg. Once you start looking deeper into subcultures, you begin to realize that there are powerful currents underneath the water that shape global mediascapes in ways that aren’t immediately recognizable.

Going onto Tumblr sometimes feels like climbing into a submarine and exploring by the narrow beam of a headlight, and there are any number of odd and unexpected things swimming around below the surface.