I’ve been rekindling with an interest in theme parks and roller coasters in the past year, which started as I went to Disneyland Paris and then upgraded to an Infinity Annual Pass.
The whole thing began with an ad. The signs I spotted as I was leaving the park exhausted at nearly midnight with my sister-in-law, niece and nephew said something like: “remember you can deduce the cost of your day ticket towards the purchase of an annual pass!”
I’ll happily share more details of that story over coffee for those interested, including the rabbit hole of a purchase funnel I went on, but suffice to say I was back there the following week with my other nieces and a friend I roped in for the occasion (thank you James!).
I managed to go 14 times in total. I took all my nieces, nephew, and godson on separate occasions. I attended the special Halloween Party night with my girlfriend and nieces (we dressed up as minions).
I also wandered there by myself. I used the park as an occasional office to work from. I wrote the initial notes for this post last week, sitting outdoors at Colonel Hathi’s Pizza Outpost, looking out on Adventureland’s greenery.
Visiting with others, we tended to focus on going on as many rides as possible, eating home made sandwiches in the queues, and small occasional stops for snacks or another meal, to briefly check out a parade, or some character.
Wandering by myself I spent time contemplating the design, organisation, huge range of merchandising in shops, food on offer, and shows.
My pass expired last week so I’ve been reflecting on the whole experience.
A massive attraction
As much as I sometimes like to think I’m different, I get pulled in the same as everyone.
Paris is the most visited city in the world, and Disneyland Paris is the most visited tourist attraction in Europe, and in France. The Louvre is the second most visited spot after Sleeping Beauty’s Castle: 7.8 vs. 9.9 Million visitors in 2022.
I don’t know what their maximum capacity is these days, but on average that represents 27,205 visitors a day, welcomed and looked after by approximately 16,000 cast members. That might be across both parks (Disneyland and Disney Studios), which together have about 15 million visitors per year, along with Disney Village including seven hotels, restaurants, more shops, and a direct train line from Paris.
As they celebrated their 30th anniversary, Disneyland Paris announced a record setting $2.6 billion revenue last year, and $52 million in operating profit. They also opened a brand new theme area in Disney Studios Park bringing in new people: Marvel Avengers Campus. The area includes several food options, super heroes wandering around, shows, a new Spider-man ride and the sadly missed Aerosmith Rock N’Roller Coaster rethemed as Avengers Assemble Flight Force.
To think it’s just one Disneyland resort in the world, and not the biggest, my mind boggles. The operation is massive: Disney Parks global attendance in 2022 was over 115 million visitors.
Being there is awesome, and I can’t help but think of the crowds there as a kind of pilgrimage. Generations rekindling with and handing over their love for these worlds and characters to new ones. Older people get to feel years melting away (as long they’re not looking at crowds or price tags too closely), while the young ones get to see beloved figures “for real.” Experiencing this with children, and of different age groups as I’ve been lucky to have done is… well, not priceless, but precious nonetheless.
The cost of enchantment
Last year’s results exceeded those of 2018 or 2019, though expectedly long time closing during the pandemic seem to have had various effects, such as ticket prices increasing several times, and the end of the free timed fast lane system, replaced by a paid for one, via the dedicated app.
Just because I like stating the obvious, it’s worth underlining this kind of magic is not for everyone. That was the case prior to COVID of course. For an illustration of life beyond the gates of the Magic Kingdom I highly recommend the excellent 2017 film The Florida Project.
Since I got my annual pass I discovered a Byzantine and complex booking system that made what was meant to be a pass I could use every day of the year into a scheduling headache. An influencer even organised a playful protest for annual pass holders.
More recently, DLP employees have been on strike, demanding monthly wage increases and improved working conditions, some employees saying they can no longer make ends meet. While I’m at it and in the midst of the writers and actors strike in Hollywood, Disney announced a new task force to study AI (and cut costs most sources say).
An average DLP undated day ticket price starts at approximately $124.96. If you plan ahead with dated tickets it can be less. It’s still at least twice the cost of other nearby theme parks, many of whom have been investing in amazing new rides over the years (Parc Astérix’ new area and coaster Toutatis is phenomenal, for example).
They recently changed the annual pass system and increased the prices about 30% while removing a number of benefits. I have a few more weeks to ponder but I’m pretty sure I’ve had enough for now. I thoroughly enjoyed it, and I’m unlikely to renew (and so many other theme parks to go explore).
Still, as cynical as I might be tempted to be, it is fascinating place to check out up close for a brand strategist. People will save up and spend over and above to be part of the Disney brand experience and share it with their friends and loved ones. Little (or none) of it is rational. The meltdowns I’ve seen both adults and children have in the park are totally emotional.
By the way among all the merchandising, I’ve seen many groups and families wear their own printed “2023 Disneyland Paris family name vacation” t-shirts – so many I’m surprised Disney doesn’t offer this online as a matter of fact when you book your tickets ahead of time.
Same thoughts go to “Disneybounding,” the practice of dressing in colour schemes and outfits reminiscent of official characters but not going against the ban on adults wearing costumes (from the Disneybound blog). Perhaps they don’t want to encourage it though.
The actual magic
In case you’re not familiar, the division in charge of the theme parks is called Disney Imagineering, blending engineering, design, technology, and Disney storytelling.
Looking at the design of the theme park, I’m blown away by the genius and planning behind the landscape architecture making the place feel a lot larger and wondrous than it is, the queues and ride design to get visitors in and maintaining a state of suspended disbelief.
The classic dark rides Phantom Manor and Pirates of the Caribbean are gorgeous, Big Thunder Mountain is a beautiful thrill ride for the whole family. The new Avengers Campus feels alive with its unscheduled and impromptu appearances of superheroes calling children out in the gathered informal audiences to join them.
I’m reminded of the characteristics of play I often quote from Roger Caillois’ Man, Play, and Games, and how well Disneyland meets them. In particular:
- It is separate (from the routine of life), occupying its own time and space.
- It is governed by rules that suspend ordinary laws and behaviours and that must be followed by players.
- It involves make-believe that confirms for players the existence of imagined realities that may be set against ‘real life’.
The magic is in suspending disbelief and letting yourself be in a state of play.
Maybe theme parks and crowds aren’t your thing, maybe there’s something else special, out of the ordinary, an adventure beyond the routine of life, something you could get up to with children and/or loved ones soon.
Last but not least, the actual magic is obviously down to the cast members working every day to bring Disneyland Paris to life: attendants, cleaners, servers, ride operators, actors, and many more – thank you to all the people working there day in, day out so visitors can play.
