DrStarlander
Well-Known Member
The Funworld article could provide some insight on Disneyland's future:
#1
The wide expansion taking place across Disney’s parks in Asia and Europe began with research. Estorino says the first step when planning for growth is understanding what the consumer wants— and how that varies by market...
Some of the biggest missteps at DLR are because the company pursued projects that the consumer didn't want -- or projects the consumer could've wanted but were pursued in ways they didn't want. SWGE being based on the Sequel Trilogy (and omitting the previous films and characters at the heart of the fandom); Tiana's Bayou Adventure being about the operator of a food co-op who needs a band for a party (and omitting nearly all elements and key characters at the heart of the story); Avenger's Campus looking like an Irvine office park with a sub-par Spider-Man attraction (and omitting the fantasy and thrills of the IP); and even the Madame Leota gift shop (a cheap building in front of the Haunted Mansion was not at all desired by fans).
Looking forward, there's a question whether DLR visitors "want" Avatar. And do they want it as an adjunct to 1920's Hollywood. It's probably too late for that to be redirected.
But the past ten years of development at DLR have largely evidenced a disregard for what fans of the various IPs would want had they bothered to ask them. The new offerings have felt like force-feedings. Corporate agenda first, consumer wants second. Maybe that will change moving forward. I would really love to know she is spending a lot of time with different groups of DLR fans and visitors and figuring out what they truly want.
#2
...In China, for example, Shanghai Disneyland sees high attendance from young adults.
“The young adult female has taken hold of this brand and of this park, and they’re creating a sophisticated energy inside the park,” Estorino shares. “They bring their fashion sensibility, their modern perspectives, and their technology capability. The park has become not only a backdrop for their WeChat, but they’re also creating a vibe in the park.”
As part of understanding what DLR visitors want, I'm not going be surprised to see more bars and lounges. The DLR visitor profile is unique in terms of being a significantly locals parks with a hang-out culture.
Or instead of weaving this element into the current parks more, especially Disneyland itself, the food-and-wine crowd could influence what happens at the Toy Story lot as well -- e.g., something akin to World Showcase could be possible.
But I also think she will look at who is not enamored with DLR: The theme park "tweener" market is key. And by that I don't mean the consumer products term of between kids and teenagers, I mean between being a bright-eyed and wonder-filled child being brought to Disneyland by parents, and being an adult, perhaps a Disney Adult, or just an adult with young children, paying to visit or bring your own kids there. This chasm between -- the teens and twenties years -- is a lost era. They once targeted this age with projects like Videopolis or California Screamin'. Their efforts sometimes reeking of pandering and clumsiness. But choosing to not have any mid-thrill themed coasters at DCA, for example, especially in Avenger's Campus (while Estorino oversees a Spider-Man coster for Shanghai) is a huge miss in keeping these tweeners engaged.
#3
Estorino tells Funworld that the second step when planning an expansion is looking at operational and financial goals.
“We may have operational needs we want to address, such as improving navigation or spreading demand across the resort. There may be financial goals or new commercial ideas we're trying to drive. So, it's a combination between what the consumer wants and desires as well as what the operation and business needs,” she says.
This is precisely where things have been out of balance in the past decade (see #1 above). Simply, it's been too much about "commercial ideas we are trying to drive." That language alone -- drive -- should raise red flags. Disney needs to know when they are pushing some agenda, the audience can tell. And usually resents it. It's an old fashioned way of doing business and they need to instead start figuring out where their agenda and customer wants intersect. In that intersection there is plenty to accomplish to achieve resonance, loyalty, and success.
#4
“We do our due diligence on the front end and really understand which stories are going to resonate, and sometimes, we do miss the mark. I would say that’s rare, but we are quick to change when our guests and our operations are feeling that we either need to evolve the story that we introduced or bring in a new story. We’re not afraid to do that,” she says.
Great. DLR is a target-rich environment for evolving stories or in which to replace ill-conceived stories.
#5
Estorino believes waiting six months for sharing opinions after a project is complete is not beneficial.
“I’ve thought a lot about that over the years, and I can say that’s part of my leadership style. I have found that voice to provide feedback—and timely feedback,” she says.
How does she gauge success? It, in part, goes back to connecting with the heartware.
“I would say our guests and our cast tell us in surveys whether we’re successful or not,” she says. “It’s beyond business, creativity, and innovation; rather, how our guests and our cast are responding to what we’re doing.”
“I always think about my visceral response when I see something creative or innovative. Did it get me here?” she says, holding a hand over her heart. “Did I have that lump in my throat? Did I have that stir in my belly? Did it move me emotionally— even for just a second or two? That’s instinct and intuition.”
Indeed, too many of the recent projects at DLR fail to cause a visceral response. If you are in a land or on a ride based on an IP you love, and you feel nothing, that's failure. It's a waste of hard-earned emotional equity. Obviously they need to do better moving forward. And they need to change the business and creative culture for that to happen. They need to stay truer to the IPs fans love -- that doesn't mean everything needs to be a book-report, it just means we're not looking for entirely new takes on the IPs when at the parks. Fans are looking to rekindle and re-feel their existing, even if sometimes latent, love of the IPs.
And when they get something wrong, they ought to be quicker about fixing it. Humility is a trait not associated with the Disney company. The reluctance to change course and reboot comes off as unempathetic and belligerent. So they let wounds fester. I like hearing a bit of impatience from Estorino and hope she takes a hard look at recent-past projects as they could be greatly improved.
#6
She is particularly interested in assisting rising talent in their professional journeys. Mentoring is a space Estorino has leaned into, and in the past five years, she’s crafted initiatives focused on developing women at Disney’s international properties through formal and informal mentorship.
For example, Estorino recently began accepting requests for 15-minute career navigation conversations with any Disney cast member from across the organization.
“If anyone sends me a note wanting a 15-minute career conversation, I accept it.
It’s a recent phenomenon,” she says with enthusiasm.
This is cool. And it's valuable because she has a lot of experience. But she can't do all the mentoring at Disney, and if they continue to get rid of old-timers, the up-and-coming people will be underserved. They need to put a value on experience and find a way to retain that and use it effectively.
#1
The wide expansion taking place across Disney’s parks in Asia and Europe began with research. Estorino says the first step when planning for growth is understanding what the consumer wants— and how that varies by market...
Some of the biggest missteps at DLR are because the company pursued projects that the consumer didn't want -- or projects the consumer could've wanted but were pursued in ways they didn't want. SWGE being based on the Sequel Trilogy (and omitting the previous films and characters at the heart of the fandom); Tiana's Bayou Adventure being about the operator of a food co-op who needs a band for a party (and omitting nearly all elements and key characters at the heart of the story); Avenger's Campus looking like an Irvine office park with a sub-par Spider-Man attraction (and omitting the fantasy and thrills of the IP); and even the Madame Leota gift shop (a cheap building in front of the Haunted Mansion was not at all desired by fans).
Looking forward, there's a question whether DLR visitors "want" Avatar. And do they want it as an adjunct to 1920's Hollywood. It's probably too late for that to be redirected.
But the past ten years of development at DLR have largely evidenced a disregard for what fans of the various IPs would want had they bothered to ask them. The new offerings have felt like force-feedings. Corporate agenda first, consumer wants second. Maybe that will change moving forward. I would really love to know she is spending a lot of time with different groups of DLR fans and visitors and figuring out what they truly want.
#2
...In China, for example, Shanghai Disneyland sees high attendance from young adults.
“The young adult female has taken hold of this brand and of this park, and they’re creating a sophisticated energy inside the park,” Estorino shares. “They bring their fashion sensibility, their modern perspectives, and their technology capability. The park has become not only a backdrop for their WeChat, but they’re also creating a vibe in the park.”
As part of understanding what DLR visitors want, I'm not going be surprised to see more bars and lounges. The DLR visitor profile is unique in terms of being a significantly locals parks with a hang-out culture.
Or instead of weaving this element into the current parks more, especially Disneyland itself, the food-and-wine crowd could influence what happens at the Toy Story lot as well -- e.g., something akin to World Showcase could be possible.
But I also think she will look at who is not enamored with DLR: The theme park "tweener" market is key. And by that I don't mean the consumer products term of between kids and teenagers, I mean between being a bright-eyed and wonder-filled child being brought to Disneyland by parents, and being an adult, perhaps a Disney Adult, or just an adult with young children, paying to visit or bring your own kids there. This chasm between -- the teens and twenties years -- is a lost era. They once targeted this age with projects like Videopolis or California Screamin'. Their efforts sometimes reeking of pandering and clumsiness. But choosing to not have any mid-thrill themed coasters at DCA, for example, especially in Avenger's Campus (while Estorino oversees a Spider-Man coster for Shanghai) is a huge miss in keeping these tweeners engaged.
#3
Estorino tells Funworld that the second step when planning an expansion is looking at operational and financial goals.
“We may have operational needs we want to address, such as improving navigation or spreading demand across the resort. There may be financial goals or new commercial ideas we're trying to drive. So, it's a combination between what the consumer wants and desires as well as what the operation and business needs,” she says.
This is precisely where things have been out of balance in the past decade (see #1 above). Simply, it's been too much about "commercial ideas we are trying to drive." That language alone -- drive -- should raise red flags. Disney needs to know when they are pushing some agenda, the audience can tell. And usually resents it. It's an old fashioned way of doing business and they need to instead start figuring out where their agenda and customer wants intersect. In that intersection there is plenty to accomplish to achieve resonance, loyalty, and success.
#4
“We do our due diligence on the front end and really understand which stories are going to resonate, and sometimes, we do miss the mark. I would say that’s rare, but we are quick to change when our guests and our operations are feeling that we either need to evolve the story that we introduced or bring in a new story. We’re not afraid to do that,” she says.
Great. DLR is a target-rich environment for evolving stories or in which to replace ill-conceived stories.
#5
Estorino believes waiting six months for sharing opinions after a project is complete is not beneficial.
“I’ve thought a lot about that over the years, and I can say that’s part of my leadership style. I have found that voice to provide feedback—and timely feedback,” she says.
How does she gauge success? It, in part, goes back to connecting with the heartware.
“I would say our guests and our cast tell us in surveys whether we’re successful or not,” she says. “It’s beyond business, creativity, and innovation; rather, how our guests and our cast are responding to what we’re doing.”
“I always think about my visceral response when I see something creative or innovative. Did it get me here?” she says, holding a hand over her heart. “Did I have that lump in my throat? Did I have that stir in my belly? Did it move me emotionally— even for just a second or two? That’s instinct and intuition.”
Indeed, too many of the recent projects at DLR fail to cause a visceral response. If you are in a land or on a ride based on an IP you love, and you feel nothing, that's failure. It's a waste of hard-earned emotional equity. Obviously they need to do better moving forward. And they need to change the business and creative culture for that to happen. They need to stay truer to the IPs fans love -- that doesn't mean everything needs to be a book-report, it just means we're not looking for entirely new takes on the IPs when at the parks. Fans are looking to rekindle and re-feel their existing, even if sometimes latent, love of the IPs.
And when they get something wrong, they ought to be quicker about fixing it. Humility is a trait not associated with the Disney company. The reluctance to change course and reboot comes off as unempathetic and belligerent. So they let wounds fester. I like hearing a bit of impatience from Estorino and hope she takes a hard look at recent-past projects as they could be greatly improved.
#6
She is particularly interested in assisting rising talent in their professional journeys. Mentoring is a space Estorino has leaned into, and in the past five years, she’s crafted initiatives focused on developing women at Disney’s international properties through formal and informal mentorship.
For example, Estorino recently began accepting requests for 15-minute career navigation conversations with any Disney cast member from across the organization.
“If anyone sends me a note wanting a 15-minute career conversation, I accept it.
It’s a recent phenomenon,” she says with enthusiasm.
This is cool. And it's valuable because she has a lot of experience. But she can't do all the mentoring at Disney, and if they continue to get rid of old-timers, the up-and-coming people will be underserved. They need to put a value on experience and find a way to retain that and use it effectively.
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