TEA and AECOM's definitive global attraction attendance report shows moderate performance in 2019


Well-Known Member
Original Poster

Year 2019 was a year of moderate performance for the world’s most popular theme parks and water parks, and a variable year for museums depending on region, according to the most recent TEA/AECOM Theme Index and Museum Index, released on July 16, 2020 and available free online. Globally, Disney remains the top theme park operator, and the Louvre in Paris remains the world's top-attended museum.

John Robinett, Senior Vice President - Economics, AECOM said, “After clearing the half billion attendance mark in 2018, the world’s top theme parks, water parks and attractions continued to climb to 521.2 million in 2019 for a 4.0% annual growth rate as represented by the top 10 attraction groups. The Asian operators once again dominated - with OCT, Chimelong, and Fantawild all reporting high single- or double-digit increases.”

Robinett added, “As a whole, 2019 was a rather mild-mannered year in the industry, with stable results in the established European and American markets being supplemented by moderate growth in Asia. This could indicate that some pre-recessionary pressures were building under the surface before the tectonic COVID-19 shifted the foundation of the world’s health and economies.”

The 20 most-visited museums in the world performed well and remained relatively stable in 2019, globally attracting some 105.5 million visits overall compared to 108.1 million in 2018.

The current, full report and all prior editions back to 2006 are available to download free of charge from the TEA website and the AECOM website.

The TEA/AECOM Theme Index and Museum Index is an annual, calendar-year study, jointly produced by the Themed Entertainment Association and the Economics Practice at AECOM since 2006, tracking attendance numbers of the world's top visitor attractions. Charts are accompanied by analysis from industry specialists in the Economics practice at AECOM. The report studies the sector by region (The Americas, Asia-Pacific, EMEA), the global market as a whole and the top operators. In 2012, TEA and AECOM expanded the annual attendance report to include the Museum Index, looking at the world’s top museums and studying them by region.

TEA COO Jennie Nevin said, "The Themed Entertainment Association is delighted to continue its longstanding collaboration with AECOM to produce the TEA/AECOM Theme Index and Museum Index, which the industry and press depend on as a critical resource year after year. The Theme Index helps TEA in its mission to educate and enrich the industry and promote best practices that lead to success and innovation."

The Top 20 theme parks in North America saw 1.2% growth overall in 2019, representing 1.9 million new visits. The top 20 water parks in North America added nearly 200,000 visits in 2019, an increase of 1.2% over 2018. The top 10 water parks in Latin America passed the 10.0 million mark in collective attendance for the first time - 10.2 million visits representing a 2.5% year-over-year increase.

Kathleen LaClair, Associate Principal - Americas, AECOM, said, “Collectively, we’re seeing the operators and parks in this sector doing all the right things – make strategic acquisitions, invest in new lands and rides, extend the season and customer base with new events, and focus on the guest experience to drive performance. These practices will continue to be important as the industry moves forward.”

The visitor attractions sector in the Asia-Pacific region overall showed attendance growth of 1.6% for calendar year 2019.

Chris Yoshii, Vice President – Economics, Asia-Pacific, AECOM, said, “The most dramatic increases in Asia’s theme park markets in 2019 were in China. Chimelong Ocean Kingdom became China’s top-attended theme park. Its 11.7 million visits in 2019 reflect an 8.4% increase from the prior year, coming in about 500,000 higher than Shanghai Disneyland. OCT, already the largest theme park operator in China, rose in the ranks above Universal Parks and Resorts to be the third-largest in the world.”

Beth Chang, Executive Director – Economics, Asia-Pacific, AECOM said, “Chinese tourists have been staying closer to home, which is good for domestic markets but has meant lost revenue to other countries. Operators are working to salvage what they can of the summer season, with an emphasis on local markets. The development pipeline remains strong.”

In the EMEA region, the 20 top-attended theme parks in 2019, all in Europe, exhibited stability, with relatively flat attendance. Disneyland Paris kept its rank as most-attended theme park in the region. In the water parks sector, Northern Europe and the UAE continue to dominate this region.

Jodie Lock, Senior Associate Economist, AECOM, said, “Growth in EMEA theme parks and water parks in 2019 was primarily driven by operators rolling out new rides and attractions, new hotels, and special events and celebrations, backed by strong marketing. The Middle East has seen much development. Looking ahead, in light of decreased tourism and restrictions related to COVID-19, parks will likely put new emphasis on generating revenue.”

Asia’s top 20 museums gained global market share and Europe’s manifested significant attendance growth in 2019, while in North America, visits to the top museums declined due to a variety of factors.

Linda Cheu, Vice President at AECOM, said, “History shows that attendance swings at the world’s top museums are primarily driven by the presence or absence of blockbuster exhibitions. The size and character of the industry will likely shift post-pandemic. Attendance declines for 2020 are inevitable, and recovery will take time. However, the performance of museums in 2019 demonstrates continued public enthusiasm for what museums have to offer.”

The 2019 TEA/AECOM Museum Index also includes a special list of new and noteworthy museums around the world, charted by region.

The 2019 TEA/AECOM Index is a portrait of calendar year 2019, which ended prior to the COVID-19 pandemic. In 2020 the global visitor attractions industry is facing significant new challenges, and the current report touches on these while remaining primarily focused on 2019. As 2020 continues to play out, the effects of the pandemic and other factors shaping the future of the industry will be studied in detail and presented in next year’s report.

The TEA website and AECOM website are the official sources to view and download the most recent, full version of the TEA/AECOM Theme Index and Museum Index, as well as past editions dating to 2006, free of charge.

Judith Rubin, editor of the report and director of publications for TEA said, “The TEA/AECOM Theme Index and Museum Index stands as an invaluable and meticulously researched business and educational resource. Members of the media, researchers, analysts, industry companies, operators and investors, students and many others turn to it year-round for statistics, industry background and insight. Now in its 14th annual edition, it shares a wealth of historical and current information."

TEA International Board President Michael Blau of Adirondack Studios said, "The TEA/AECOM Theme Index and Museum Index is an important aspect of how our global membership association serves the global industry with information and resources. TEA values its continuing partnership with AECOM."

Since 2006, TEA and AECOM have collaborated to produce and publish the annual TEA/AECOM Theme Index and make the report available free as a resource and reference for business and education. It was expanded to include the Museum Index in 2012. The TEA/AECOM Theme Index and Museum Index is a definitive and widely cited global resource benefiting the international attractions industry and many other sectors including financial, real estate, education, hospitality, retail, travel and tourism. It is a vital reference for the media. It is published in PDF format on the TEA and AECOM websites, and in a limited print edition.

AECOM is the world's premier infrastructure firm, delivering professional services throughout the project lifecycle – from planning, design and engineering to consulting and construction management. We partner with our clients in the public and private sectors to solve their most complex challenges and build legacies for generations to come. On projects spanning transportation, buildings, water, governments, energy and the environment, our teams are driven by a common purpose to deliver a better world. AECOM is a Fortune 500 firm with revenue of approximately $20.2 billion during fiscal year 2019. See how we deliver what others can only imagine at aecom.com and @AECOM.

Through its activities in the global themed entertainment community, TEA helps lead the conversation about how great guest experiences are conceived and realized, and helps focus attention on themed entertainment as a vital niche of popular culture and its essential role in global economic development. As a nonprofit membership association representing the creators of compelling places and experiences worldwide, TEA encompasses some 1,800 member companies and produces a full calendar of conferences and events including the prestigious, annual TEA Thea Awards. TEA was founded in 1991 and is headquartered in the Los Angeles area. Visit teaconnect.org and @tea_connect. #TEAthemeindex #TEAdigital


Well-Known Member
Original Poster

The Disney Parks worldwide was down 0.8%

Universal was up 2.3%
Six Flags was up 2.5%
Cedar Fair was up 7.8%
SeaWorld was up 0.2%

Disney and DCA was flat (0.0%)

>>There has been continued investment in Pixar Pier at Disney California Adventure with Jessie’s Critter Carousel and Inside Out Emotional Whirlwind in 2019. <<

>>Cedar Fair reported the strongest increase among the domestic operators, with growth of 7.8% within its full portfolio, which now includes the Schlitterbahn New Braunfels and Schlitterbahn Galveston water parks (acquired mid-summer 2019). Outside the increase in overall attendance from the two new water parks, attendance at the operator’s legacy collection of parks increased 5.0%.

Cedar Fair's strategy, and resulting performance, form a strong example for investing and reinvesting, whether in new parks, rides or experiences, to drive attendance and revenues.

Attendance at Canada’s Wonderland increased 4.0%, due in part to additional operating days for its new WinterFest event and a new coaster Yukon Striker. Knott’s Berry Farm also had a great year, with 3.0% growth, a new PEANUTS celebration and a revamped raft ride, Calico River Rapids. <<


Well-Known Member
Original Poster

>>Disneyland attendance remained flat in 2019 ahead of the coronavirus closure of Disney’s Anaheim theme parks and despite the debut of the $1 billion Star Wars: Galaxy’s Edge, according to a new industry report.

Global theme park attendance rose 4% in 2019 to 521 million visitors, according to a new report from the Themed Entertainment Association. The 2019 attendance numbers will likely serve as a high-water mark for several years as theme parks attempt to rebound following the global pandemic.<<

>>Disneyland attendance remained flat at 18.7 million visitors in 2019 with annual visitorship also unchanged at Disney California Adventure at 9.9 million, according to the TEA report.

Disney World’s Magic Kingdom in Florida remained the world’s top theme park in attendance with 21 million visitors in 2019, according to the report. Disneyland held onto the No. 2 spot worldwide.

Across the esplanade from Disneyland, attendance was also flat at Disney California Adventure despite continued investment in Pixar Pier with Jessie’s Critter Carousel and Inside Out Emotional Whirlwind in 2019.

Like Disney’s Southern California parks, Universal Studios Hollywood attendance remained steady in 2019, holding at 9.1 million visitors.

Knott’s Berry Farm topped all Southern California theme parks with a 3% increase in attendance driven by the revamped Calico River Rapids raft ride in 2019.

SeaWorld San Diego saw a modest 0.5% uptick in 2019 after a whopping 20 percent boost in visitors in 2018. SeaWorld’s ability to maintain its attendance at 3.7 million visitors is a marked improvement after years of declines precipitated by a scathing documentary film critical of the marine park’s treatment of its marquee killer whales.

Six Flags Magic Mountain attendance climbed 0.5% to 3.6 million visitors in 2019, according to the report. Legoland California did not make the TEA report.

Worldwide, Disney theme park attendance dropped 0.8% to 156 million visitors in 2019, down from 157.3 million in 2018.<<


Well-Known Member
Well I love the fact that all that addition to the Pier has made no impact to keep the attendance up in DCA...should have learn better not to slap us with so much branded IP and create a World Class Destination at DCA!


Well-Known Member
Original Poster
Why does the report keep referring to Pixar Pier? I would think Galaxy's Edge would be mentioned. It must be pretty sobering to execs that after adding Galaxy's Edge, DL attendance was flat.

>>Disney, Universal

At Disney's domestic parks, the opening of Star Wars: Galaxy’s Edge introduced a richly themed new land that takes participatory immersion to new levels, and showcases what Disney does best, immersing guests in storied lands, rides and attractions. The land and its pioneering rides, Rise of the Resistance and Millennium Falcon: Smugglers Run, have received accolades, including TEA Thea Awards. Disney’s domestic park attendance numbers were flat overall for 2019 compared to the previous year which could be attributed to the operator emphasizing its yield strategy by prioritizing the quality of guest experience and per caps. This operating model has emerged over the last decade and will likely serve operators well moving forward, with respect to capacity limitations in parks and the continued need to stay competitive.


Active Member
No, everybody I know says it has been pretty much right on. The additional seasonal offerings, and the SP push were the main drivers the last few years.
Cedar Fair said that Knott’s did over 6 million in attendance in 2018, but the TEA Report for 2018 says 4 million in attendance. A difference of 2 million is pretty significant, I think.


Well-Known Member
Original Poster
Cedar Fair said that Knott’s did over 6 million in attendance in 2018, but the TEA Report for 2018 says 4 million in attendance. A difference of 2 million is pretty significant, I think.

Please share that, what is the source?

Cedar Fair no longer releases individual park attendance.

From February 2020.

>>In a year-end conference call with analysts Wednesday, Cedar Fair President and CEO Richard Zimmerman reported that attendance increased 8% to 27.9 million guests in 2019 across 11 amusement parks and four waterparks, including Cedar Point and Kings Island. The company does not release attendance figures for individual parks. <<

The TEA number for 2019, it reports a 7.8% increase to 27.938 Million.


Well-Known Member
Original Poster
From the OC Register link...

>>Disney’s domestic attendance was flat overall for 2019 in part due to a new “yield strategy” that uses higher ticket prices to manage attendance levels and increase per capita spending, according to the TEA report.

Disney’s yield strategy is simple: Happier customers spend more. Disney’s plan admits fewer visitors at higher ticket prices for an improved “guest experience” that results in greater spending on food and merchandise and increased profits.

The TEA report expects more theme park operators to adopt Disney’s operating model as the industry continues to deal with government-imposed COVID-19 capacity limits.<<

Magic Feather

Premium Member
This is everyone’s yearly reminder that TEA numbers are determined with some weird metrics that don’t signify much (especially for multi-park destinations with hopping encouraged like Universal Orlando, WDw, and good a lesser extent DL).

That said, I’m impressed that DL’s numbers for the year were “flat” (because they weren’t, there was a dip. Fall was good, but not good enough to make up for summer).


Well-Known Member
Original Poster
The weird metric, counting only your first visit of the day at a location was thought of by the WDW folks in charge when EPCOT came online.. It was them who wanted the count to be that way, and it was for economic/tax purposes. So yes, multi-park locations keep multiple statistics.

But for attendance reasons, a guest (who usually is attached to a Hotel stay, and food/merchandise spending) is counted once, so the statistics work out for the per day stuff.
Last edited:


Well-Known Member
Original Poster
From the Report.


Methodology and evolution of the TEA/ AECOM Theme Index and Museum Index This is the fourteenth annual Theme Index and Museum Index collaboration between the Themed Entertainment Association (TEA) and AECOM, although the study itself has been in existence for much longer. The report has evolved over the years, starting as just a report on major U.S. theme parks, with additional regions (EMEA, Asia, Latin America) and attraction types (water parks, museums) added over time. The report represents a significant body of international research and annual tracking.

Inclusion in the annual Theme Index and Museum Index is now seen as a benchmark of success among operators, parks, and museums. Every year AECOM and TEA hear from parks and museums desiring to share their attendance increases and earn a place on the list. Those who believe their properties should be included in the report are encouraged to contact the AECOM office in their region, after studying the criteria for consideration given below. The more feedback and information we receive, the more accurate this report will become.

AECOM obtains the figures used to create the TEA/AECOM Theme Index and Museum Index through a variety of sources, including statistics furnished directly by the operators, historical numbers, financial reports, the investment banking community, local tourism organizations, and professional estimates where necessary.

The global market is studied as a whole, and each of its main regions is also studied separately: the Americas, EMEA, and Asia-Pacific.

For a theme park or water park to be included in the report, at a minimum the property must be gated (entry ticket required) and the park generally must be focused on the visitor experience. To be included in the top theme park groups list, an operator must have theme parks in its portfolio in which it has controlling ownership or that are branded by the operator (i.e., licensed).

Due to differences in reporting across operators and regions, there is some variation in the time periods for which figures are reported. Unless otherwise noted, figures for North America and Europe are calendar year figures, while most figures for Asia-Pacific are fiscal year figures. In Asia-Pacific, for those parks/museums with a fiscal year ending from June 30 to December 31, AECOM researchers use the current fiscal year number in our tables, while for those parks/museums with a fiscal year ending early in the year, for example on March 31, the following fiscal year numbers are used in the tables. By way of example, Ocean Park Hong Kong fiscal year ends June 30, 2019, so fiscal year 2019 is used in the 2019 table <<


Well-Known Member
Original Poster

Why should parks share their numbers?
When operators share their information, it is good for the industry. It ties directly into re-investing wisely in ways that bring in more attendance and more repeat visitation, driving revenue and profits. Tracking differences and fluctuations in attendance helps the industry recognize what drives changes in attendance. Knowing what works, what doesn’t work — and where and why — allows operators to make wise investment decisions and to know what results can be expected. That’s the heart of market and feasibility analysis.

Do some operators exaggerate in order to look more successful?
What can you do about that? Our role is to share what the industry operators say officially or, if that information is not provided, to share our best professional estimate. It’s possible that some are overreporting their numbers. We can’t control that. However, all of the major operators are publicly owned and therefore obliged to report financial performance information at the corporate level, even if they don’t break it down to the park level.

Over-reporting may get an operator temporarily higher on the list than its competitors, but it will cause problems, some in the near term and others down the road. In the near term, if attendance is up but revenues or profitability are not, it raises questions. In the longer term, eventually, they’ll hit a point where the numbers are too far off to be credible.

Misrepresenting also complicates the picture if the company eventually goes public, or is acquired or wants to sell off an individual property. Operators know this. Misreporting also raises false expectations. If you’re trying to make an investment decision and forecast future performance, you need accurate information. If a property is not investing in regular improvements, yet reports that numbers are stable or growing, the numbers are suspect. Moreover, it’s not the kind of secret that can be kept for long. People move from one operator to another and they take that knowledge with them. Consultants are called upon to help interested parties evaluate ongoing operations as well as potential new investments and activities. In other words, over-reporting will eventually come to a point of correction. Our advice is to trust the process.

How do you estimate figures for individual parks and museums that don’t report them?

Fortunately, with more than 60-years experience working in the attractions industry, AECOM’s Economics practice has a strong understanding of what drives performance at the park level and a robust process to estimate attendance where necessary. The following outlines our general process:

– We start by reviewing publicly available information about the performance of the multi-park/attraction operators and also the individual parks/museums. We also review information that we have collected as part of the previous year’s report and throughout the year.

– Where park/museum-level information is missing, the multi-park operators and the individual parks/museums are asked to provide their attendance figures, and many of them do so directly.

– Where specific park/museum-level figures are not received from the operator, AECOM researchers use a detailed methodology that considers the following: historic attendance trends at the park/museum; generally available information on the park/ museum and/or operator; park/museum changes, such as new rides, areas, shows, exhibits, ticket prices, intellectual property connections, etc.; general economy of the nation and the specific metropolitan area; tourism trends nationally and in the metropolitan area; for parks, weather trends in the area, particularly during peak periods; the performance of nearby parks/museums and other attractions; media coverage about the operator/park/museum; and select factors as relevant.

– Park/museum operators are also given the opportunity to review and comment on AECOM’s estimate before the Theme Index and Museum Index are finalized and published. Of those that don’t provide official figures at the park/museum level, the research team generally receives some form of feedback regarding the individual parks/museums. Leadership at TEA (the Themed Entertainment Association, which publishes and helps edit the report) plays an important role here, encouraging responses.

– As the leading provider of business planning studies worldwide for attractions, AECOM's group also works frequently with all of the major operators, parks and museums, providing the AECOM team the opportunity to periodically compare estimates with actual exact figures. They are used to refine the methodology where necessary.

– As part of its active work in these markets and to maintain awareness of what drives performance and the macroeconomics of different countries, members of the research group visit the parks and museums, watching for new development and trends. This helps to bring professional processes to the industry so that a higher level of quality can be transmitted from more developed markets into emerging markets. AECOM consultants frequently work for operators who are looking to enter the attractions business, or to grow or improve their existing operations. They also team with attraction master planners and designers to help correctly position and right-size parks and museums to match their market potential and optimize their financial performance. In addition, they regularly speak at industry events, such as those organized by TEA, IAAPA, WWA, AAM, AZA, ULI, and many others, about industry trends, and also contribute to articles to industry publications and in more general media publications.

What causes wide swings in performance at parks and museums?
As can be seen from the process outlined above, there are many factors affecting the performance of a park or museum, including past performance, new offerings, the economy, tourism, weather, media coverage, management, and more. Typically, large changes in attendance, up or down, are driven by major changes in one or more of these factors, with the relationship between the two frequently clear when examined in detail.

How is a water park defined for the purposes of the Theme Index?
A water park must have a minimum of three water slides / flumes, a wave pool, retail and food areas, and at least two of the following other elements: tube rides; free-form pool; lazy river; and kids' water play area. In Asia and America, the water parks are defined as outdoor facilities. If a water park also has a separate spa facility, only the entertainmentrelated attendance is factored into our study.

Why aren’t other attraction types included, such as zoos and aquariums, observation experiences, and sports and performance venues?
The report has evolved over the years, starting as just a report on major U.S. theme parks, with additional regions (EMEA, Asia, Latin America) and attraction types (water parks, museums) added over time. That said, we are indeed considering additional attraction types and will include these as interest is shown and resources allow.

Why do you focus on the topattended parks and museums?
The top-attended parks and museums are a clear indicator of the overall state of the industry and associated trends. In addition, trends and activities at the top-attended parks and museums signal both what is currently occurring in the industry more broadly, as well as what is likely to occur in the future, particularly in such areas as investment, technology, IP, marketing, facility spending, visitor spending and behavior. This is also why the top-attended parks and museums tend to be the most-watched by the media as well as the industry. The report currently lists more than 200 parks and museums, the result of a significant research, tracking and evaluation effort on the part of our team.

Can we assume that the same dynamic of the top parks is playing out in the smaller parks and museums?
Generally, the answer is yes, with attractions of all types and scales facing many of the same ongoing challenges, which include meeting visitor expectations, hiring and retaining good management and staff, efficient operations, understanding and applying new technology, addressing the need for continuous reinvestment, and the like. That said, smaller and more regional venues have their own unique place in the market. They have distinct challenges when it comes to marketing, investment and guest retention, making the most of smaller budgets, and differentiating themselves from other leisure options competing for visitors’ time and money. How they respond to those challenges often sets an example of creativity, innovation, leadership and/ or economic stimulus that influences the rest of the sector — many such examples have appeared in the annual slate of TEA Thea Awards recipients over the years.

How do you account for the performance of operators of numerous smaller attractions that don’t make the lists, but that are still large operators?
The two operators that most readily come to mind here are Merlin Entertainments Group and Parques Reunidos, both of which do make the Top 10 Theme Park Groups Worldwide list. In the case of Merlin Entertainments Group, they are the second most attended operator globally with attendance of 67.0 million in 2019, around one-third of which occurred at larger parks, with most of these located in the EMEA region (e.g., LEGOLAND Windsor, LEGOLAND Billund, Alton Towers, etc.). However, about two-thirds of Merlin’s attendance occurs in mid- and small-size attractions, particularly at “midway” attractions, most of which are situated in highly trafficked locations in well-known locations, particularly top tourist destinations, with highly recognized individual brands (e.g., Madame Tussauds, SeaLife, the Dungeons, etc.). Similarly, with 20.9 million visitors in 2019, Parques Reunidos was the tenth most attended operator globally, with a strategy of focusing largely on a wide variety of attraction types, including amusement parks, zoos, aquariums, and IECs, primarily located in the EMEA region, but with a growing portfolio in North America (via its subsidiary Palace Entertainment). Clearly both Merlin Entertainments and Parques Reunidos have developed effective strategies to attract large numbers of visitors overall to their respective attraction portfolios, but a combination of factors such as their location, focus, and scale, inhibits most of their properties from reaching levels for inclusion in the Theme Index.


Well-Known Member
This is everyone’s yearly reminder that TEA numbers are determined with some weird metrics that don’t signify much (especially for multi-park destinations with hopping encouraged like Universal Orlando, WDw, and good a lesser extent DL).

Pretty much this. Disney said that attendance at the parks this year was comparable to last year in their annual report, and TEA literally just printed the same exact number as last year. Seems real scientific.


Well-Known Member
Pretty much this. Disney said that attendance at the parks this year was comparable to last year in their annual report, and TEA literally just printed the same exact number as last year. Seems real scientific.
Exactly. DL and Epcot are the same to 5 significant figures? The percentage shifts also seem to be eyeballed giving data calculated like: This year = Last year X ( 1+ % change), and not % change = This year / Last year


Well-Known Member
Original Poster
Now, this is talking about Disney's Fiscal year, ending September of 2019, but this is what TWDC said.

>>Disney reported a slight attendance gain at the Walt Disney World Resort but noted attendance declines at California's Disneyland, Shanghai Disneyland and Hong Kong Disneyland. <<

Now, chain wide, TEA/AECOM reported a 0.8% decrease to 155.991 Million

Magic Kingdom park at WDW went up 0.5%
DAK was up 1.0%
EPCOT was flat
DHS was up 2.0%


Well-Known Member
Now, this is talking about Disney's Fiscal year, ending September of 2019, but this is what TWDC said.

That quote was specifically regarding the Q4 results. The Annual Report states that attendance domestically was "comparable" to the previous year (bold mind):

The increase in theme park admissions revenue was due to an increase of 8% from higher average ticket prices, partially offset by decreases of 2% from lower attendance and 1% from an unfavorable Foreign Exchange Impact. The decrease in attendance was due to lower attendance at Shanghai Disney Resort. Attendance at our domestic theme parks was comparable to the prior year.
Top Bottom