An Epic Weekend (11/6-11/9)

[Tobias]

Monsters Unchained, continued

• A tiny yet monumental detail: It certainly appears that the Phantom is actually faux-playing his organ. I observed what appear to be the figure's fingers pressing down on the keys in sequence (and I checked on a POV - you can see it happen). How did they manage this? A known challenge in designing animatronic figures is there's no reliable way to have even the most advanced model come into physical contact with an independent object. Think of how Hondo at Galaxy's Edge doesn't actually touch the buttons on his control panel - he mimes the motion. Yet Phantom manages to play the keys! Perhaps the solution is far simpler than I'm realizing, but as someone with theme park design experience, this stunned me.
• I much prefer Victoria's animatronic face versus her projected face! I think they could've gotten away with that in the preshow, and perhaps they will eventually make the switch (as Disney is with their Frozen characters) down the line.

Regarding the Phantom playing the organ, I recall a while back in the many patents Universal filed, one of them did involve an animatronic playing a piano/organ, along with one for an animatronic which walked forward. Patent well filed, I say!

As for the projected faces, amusingly I didn't know they actually went for a projected face on Victoria since when I went on in September it was just her animatronic face and that worked just fine, go figure!

But yeah, my thoughts exactly on Monsters. I was very curious to see where it would end up on my personal ranks, and it easily cleared into my all-time favs right along Spider-Man, Indy, ToT (WDW) + GotG: Mission Breakout! and Mr. Toad's Wild Ride*. Not an easy rank to get into, but it feels so good this one did!

* = I know Toad seems like an outlier compared to the other rides in my ranks, but the ride delivers absolute pure joy without fail, and for me that's not only a mark of a great attraction...but also more than deserving to be in the ranks of an all-time fav.

 

[Clive]

I believe the left hand is controlled using a rod hooked up to the front of the hand and hidden through the black portion of the organ. I believe the arm itself it not attached to the main figure, so as the figure lunges out the hand remains playing and synched up. This allows it to "play" and actually hit keys because they can always hit the same marker each time. Same thing for the right hand, but instead it's on a wire that pulls it back to the organ keys but released into a natural state of reaching when the character turns around. Hope that makes sense.



A new wall is so simple that it feels like a "time's up, put the pencils down" situation. I hope they come in soon to upgrade that space.

Wow, wow, wow re: the Phantom animatronic. All that work for what's essentially an "invisible" effect. Really impressive work. I wonder if I can catch a glimpse or two if I look closely at all the behind-the-scenes footage of the Phantom in the "Epic Ride" documentary series...

Have to agree re: the black curtain, too. There's so much obvious passion for getting this ride right in the Epic doc, but there's also a sense of urgency, cascading issues, and lack of time.

After departing Monsters Unchained (and into a gift shop that looks suspiciously like Filch's Emporium of Confiscated Goods), we decided to hit the nearest attraction while lines were still consistently short: Constellation Carousel. I'd been monitoring queue times that week and observed waits consistently climbed as sunset neared... and then never really dropped, even in the last hour or so of park operation.

Constellation Carousel

• The reason for those escalating wait times quickly became apparent: This puppy loads really, really slowly, almost to a comical degree. It is also predictably better experienced at night, but that isn't to say we didn't have a great time during the day.
• The posted wait time was ten minutes, but we were immediately grouped for the next cycle. Unlike some reports, we were not assigned to a specific animal, only asked if we would be riding together or separate. I did not realize that many of the traditional carousel animals allowed for two adults, so this was a pleasant surprise.
• Tough to emphasize how lovely this ride package looks. Yes, it's overengineered, probably to a fault. (The Epic Ride doc gives you a glimpse of how relatively complex this thing actually is.) But something about how it looks, moves, and sounds really spoke to me and helped fulfill the promise made by Celestial Park. This is a relaxing, cooldown experience that delivers a sincere spark of wonder.
• If you want to get the most of your experience, you should carefully observe the turntables and where animals are positioned before choosing your vehicle. Some animals are not affixed to the interior turntables, meaning they do not offer the same versatility of movement. We chose a rabbit (my fiancee's favorite) on one of the interior turntables, and sure enough, we were both able to sit comfortably.
• I was somewhat perplexed by the relatively aggressive seatbelts, which are uncommon for this kind of ride. The reason for these appears to be twofold: One, you really do not realize how high you rise from the ground until you're experiencing the ride, and two, there are apparently four additional profiles the attraction is not running at this time. Perhaps those profiles are more intense and call for the snug restraint.
• These seatbelts, which are also used on Battle at the Ministry, can be a bit tricky to manipulate at first. You need to pull hard and out before you attempt to wrap it around your waist and buckle. If you attempt to lock in too soon, the belt will probably fall short, as it becomes taut as soon as it encounters any real resistance. I observed team members repeatedly explaining this to people struggling with their belts, which prolonged the dispatch time.
• And again, woof, that dispatch time. It probably took at least two minutes, if not more, and the ride was not filled to capacity. The issue here is they've only assigned two team members to check restraints. Given the clear difficulty in securing those restraints and the number of vehicles, they need to assign three or even four team members to do these checks during peak hours. I am guessing this is coming as staffing levels improve.
• Once the ride begins, we had a very enjoyable time. There's a fair amount more motion than you're expecting, but it isn't nauseating - more soothing. The music is also really done and memorable. We got what I believe is the current "standard," wondrous profile.
• Is this worth more than a ten minute wait, though? No, even for a night time ride. I'd recommend hitting it as you work your way around the park in the morning. I hope operations improve so more people can consistently experience it.

After getting off the Carousel, I noted that Cirque Arcanus had a performance scheduled to start in under 30 minutes. While we had considered leaving the shows for after lunch, I had heard Cirque tends to fill up and can become difficult to see, especially if performances are canceled due to technical issues. We decided to give it a try.

One unexpected challenge was... finding the entrance to the Ministry portal. It's curiously tucked away behind the Meteor Astropub, so if you're coming from the west side of Celestial Park, it won't be immediately apparent. This isn't a criticism, per se, but I'd love to know what drove that placement.

Ministry of Magic / Wizarding World Paris (which is clearly what it should be called, good grief, guys)

• We spent several days in Paris last May. Universal's version here is strikingly close to the real deal. The streetscapes are overwhelming and packed with delightful detail. It also has the advantage of near-total surprise and lower expectations: Every Potter fan knows Hogsmeade and Diagon Alley, so they have a certain idea of what to expect that the theme park version may not be able to quite achieve. While Wizarding World Paris did show up in the second, dreadful Fantastic Beasts film, it's still not a locale we know an awful lot about. What we see on the screen is basically it.
• We didn't linger to appreciate the details too much because we wanted to make sure we caught the show. Upon inquiring with the team members at the entrance, they assured us we had time to grab a drink before hopping in the queue. I moseyed over to the Bar Moonshine, which would became my most frequent stop for the rest of the trip.
• Folks, if you enjoy imbibing, Bar Moonshine has the goods. We tried each cocktail over the course of the trip, and every single one was a winner. Are they absurdly priced? If you aren't used to Los Angeles or New York, yes, though you do get a cute souvenir cup, at least. The Lobe Blaster was my personal favorite, and I loved the in-universe warning about its potency ("make sure you have a designated broom flyer tonight"). The Philosopher's Old Fashioned is also extremely spirit-forward, if that's your thing (it is mine).
• Bar Moonshine does need a (small) exterior queue. I know they are hesitant to do this kind of thing, but if The Hopping Pot can manage a simple switchback, so can this spot. Right now, the line awkwardly and consistently spills out into the dead-end plaza that was clearly intended to serve as the entrance to the cut attraction. Wrapping the line to either side would go a long way to improve guest flow. Still, don't be deterred by what may look like an intimidating queue. It moves very fast, and we had our drinks within five or seven minutes.
• Also of note: While this is not a full bar, these cocktails are not premixed. I observed the bartender making them with the approved ingredients. Adjustments are not permitted per typical draconian Wizarding World rules.
• Back to Cirque Arcanus. The line had started to spill out of the tent and into the adjacent queue, but we were assured we'd get a seat.
• The extended queue is quite attractive and did give me an opportunity to take in more of the detail work. So many quiet corners are just inundated with best-in-class theming. Don't miss the (faux) bakery with treats that resemble Fantastic Beasts.
• We lucked out in that the jazz band came out to perform while we were still waiting outside, so we got to take in much of their performance before the line started puttering along. This is another excellent piece of Potter street entertainment, and I would die for that little puffy guy.
• The scheduled show time (I believe 11:35) came and went with no movement. Guests around me were confused and assumed we'd missed the show, but I clarified that, at least for Cirque, the doors are ostensibly meant to open at the posted show time. I wish there was an easier way to communicate this to guests. To their credit, a team member circled around 11:40 informing us that a technical issue had been resolved and that they would now load us in for the performance. As a data point, our show hit capacity around 15 minutes before the posted show time.

Next... Cirque Arcanus!

 

[Parkscope Joe]

• Folks, if you enjoy imbibing, Bar Moonshine has the goods. We tried each cocktail over the course of the trip, and every single one was a winner. Are they absurdly priced? If you aren't used to Los Angeles or New York, yes, though you do get a cute souvenir cup, at least. The Lobe Blaster was my personal favorite, and I loved the in-universe warning about its potency ("make sure you have a designated broom flyer tonight"). The Philosopher's Old Fashioned is also extremely spirit-forward, if that's your thing (it is mine).

Knew you'd like Bar Moonshine and the Lobe Blaster...

 

[Skold]

Bar Moonshine does need a (small) exterior queue. I know they are hesitant to do this kind of thing, but if The Hopping Pot can manage a simple switchback, so can this spot. Right now, the line awkwardly and consistently spills out into the dead-end plaza that was clearly intended to serve as the entrance to the cut attraction. Wrapping the line to either side would go a long way to improve guest flow. Still, don't be deterred by what may look like an intimidating queue. It moves very fast, and we had our drinks within five or seven minutes.

@Clive loving your write-ups. Your posts are a joy to read, and the imagery they invoke brings me right back to these places.

That said, Bar Moonshine sucks.



The (non-existent) queue, the TM standing outside with a menu to keep people from getting in the no-queue, the seating, the three tables, it is just bad.

Hopping Pot and the Fountain of Fair Fortune have it down (and the latter has zero seating!). So odd how wrong they got this one.

 

[Clive]

@Clive loving your write-ups. You're posts are a joy to read, and the imagery they invoke brings me right back to these places.

That said, Bar Moonshine sucks.



The (non-existent) queue, the TM standing outside with a menu to keep people from getting in the no-queue, the seating, the three tables, it is just bad.

Hopping Pot and the Fountain of Fair Fortune have it down (and the latter has zero seating!). So odd how wrong they got this one.

There were three tables?! I certainly didn't see them. Viewed as a full-on bar, I agree it isn't up to snuff, but as a window where you can pick a very strong and generously portioned drink, it's a total win.

Luckily, though, I think this is fixable. Add a few more tables around the perimeter of this plaza in areas that don't have a spell window. Add a few chain stanchions to form a queue hugging the facades to the direct right of the entrance.

 

[ReelJustice]

Knew you'd like Bar Moonshine and the Lobe Blaster...

He’s a man of culture and good taste

 

[HHN Maddux]

Monsters Unchained, continued

• In a word? The ride is masterful. This is the best dark ride Universal has produced since, and I realize this is maybe controversial, The Amazing Adventures of Spider-Man or Men in Black: Alien Attack. The marquee Potter rides (not including Hagrid's here) and Kong all have their merits but also significant drawbacks. This isn't to suggest that Monsters is flawless - more on that in a moment - but it achieves spectacular results despite the sky-high expectations that come with a century's worth of immortal characters. Somehow, what started as an aborted Van Helsing ride adaptation has evolved into an original story that's frightening, thrilling, and worthy of the films it invokes.
• Let's talk briefly about the setup here. The entire premise of the ride is fittingly built on Victoria's hubris: We are only here in the manor and placed on ride vehicles because she is absolutely confident her experiment to domesticate Dracula will succeed. This is right in line with the arrogance that drove Colin Clive's original Doctor Frankenstein. Victoria even has the gall to suggest that her monster is "better than the original!"
• Monsters Unchained also provides a return to form in pacing. Some of Universal's best rides understand that you should be eased in and spend time absorbing the attraction's world before you start bombarding guests with non-stop action. Spider-Man and Kong, with the outdoor sequence intact, achieve this. Transformers and Gringotts, which escalate their scenarios basically immediately, do not. To that end: A full minute elapses from the moment Victoria's on-board audio begins to the point where Dracula escapes his confines. During that time, we have an opportunity to become acquainted with the vehicle's motion, get a sense of our surroundings, and encounter several characters (Igor, Hunchback, Phantom, and Victoria) in low-stakes, low-conflict encounters.
• About that escaping Dracula figure: Yes, if you're looking for it, you can see the arm holding him up. It wasn't nearly as egregious as I feared given how you are positioned and when the figure is actually lit. I loved the pop of heat and haptic feedback timed to the electrical short.
• We lucked out with regard to the operation of the attraction's many complex animatronics. From what I could tell, only one - Frankenstein wrestling with the vampire bride - was down throughout our trip. They appeared to cover that figure with a black drape so it wasn't observable in its static state, which is appreciated. The unfortunate thing is that when this figure is down, it's tough to understand what's going on, as you still hear Frankenstein's pained grunting. The Victoria figure with the crossbow in this section isn't obvious at first, and I wasn't clear if the Bride she's standing off with is supposed to move.
• The Rick Baker Wolfman, realized before my eyes! I got plenty of blood splatter, so I wouldn't worry too much about the water effect being turned off. The chase is harrowing, and the swipe from the second figure consistently made me jump. You get close, and I couldn't help but think this is what Imagineering hoped guests would experience when passing the Yeti on Expedition Everest. This close encounter pulls off a much higher level of intimacy that allows you to appreciate the figure without sacrificing its frightening appearance or speed of motion. And you even get the homage to the Frankenstein Meets the Wolfman poster as the two creatures confront one another!
• That Mummy figure? (Imhotep? I forget where we landed here.) Also nothing short of spectacular. This ride's full of nightmare fuel. Love the bit of dialogue challenging Victoria's role in all of this.
• The climax largely works, even with Dracula in "B Mode" (i.e. body and facial motion, but no swinging toward you). It's clear to me he receives a direct hit from a light beam and is forced to retreat, but I imagine the ending would provide a considerably greater jolt if he followed the vehicle before it happens. Since it seems that effect is turned off more often than not, I imagine that's the other thing that will eventually need a permanent adjustment to provide a more consistent quality show.
• And then we wrap things up. Victoria has failed but seems undeterred, once again confident that next time - this time - she'll get things right. The hubris perpetuates the loop, even allowing for the ride's repeating events to become a function of Darkmoor's story and lore.

Now that I'm home and can type out a proper full comment, right off the bat just need to say these write-ups are fantastic and I was very much looking forward to hearing your thoughts on Unchained!

• Fully agreed on the pacing. Effectively the first quarter of the ride is spent on the buildup to Dracula escaping, and it's done masterfully.
• The Dracula arm is much better now than it was in previews, I believe they've added mirrors onto it to reflect the electricity projection mapping, and the way the vehicle is angled for the scene was slightly altered, but it made a drastic difference.
• The Bride is supposed to fly towards Victoria, AFAIK she's been down for a minute now unfortunately.
• I still wish we got closer to that 2nd Wolfman figure- I feel it still misses a bit of oomph, imagine if you got close enough to feel a wind brush from the claw swipe.
• The Mummy in this ride is Ancksunamun! And fully agreed on the figure in the coffin being nightmare fuel, simple but brilliant effect of the sarcophagus opening and a chilling reveal.
• Surprised you didn't note about it- that 2nd Dracula animatronic might be my favorite animatronic in any ride period. The levitating effect is extremely well-done, and the line delivery is PERFECT.
• From what I understand, the KUKA arm for Finale Drac is the issue, not the animatronic itself. I believe he's been in A-mode more and more as of late, but of course unlucky timing could land you a B-mode day, like in your case (and mine this past Sunday).
• And I love your comment on how Victoria is just continuing this cycle. The whole land and especially the ride brilliantly tells a story about that cycle of atrocity and abuse, and how maybe, just maybe, this time something will be different, yet hubris and ego gets in the way and perpetuates it.

 

[GA-MBIT]

Monsters Unchained, continued

• In a word? The ride is masterful. This is the best dark ride Universal has produced since, and I realize this is maybe controversial, The Amazing Adventures of Spider-Man or Men in Black: Alien Attack. The marquee Potter rides (not including Hagrid's here) and Kong all have their merits but also significant drawbacks. This isn't to suggest that Monsters is flawless - more on that in a moment - but it achieves spectacular results despite the sky-high expectations that come with a century's worth of immortal characters. Somehow, what started as an aborted Van Helsing ride adaptation has evolved into an original story that's frightening, thrilling, and worthy of the films it invokes.
• Let's talk briefly about the setup here. The entire premise of the ride is fittingly built on Victoria's hubris: We are only here in the manor and placed on ride vehicles because she is absolutely confident her experiment to domesticate Dracula will succeed. This is right in line with the arrogance that drove Colin Clive's original Doctor Frankenstein. Victoria even has the gall to suggest that her monster is "better than the original!"
• Monsters Unchained also provides a return to form in pacing. Some of Universal's best rides understand that you should be eased in and spend time absorbing the attraction's world before you start bombarding guests with non-stop action. Spider-Man and Kong, with the outdoor sequence intact, achieve this. Transformers and Gringotts, which escalate their scenarios basically immediately, do not. To that end: A full minute elapses from the moment Victoria's on-board audio begins to the point where Dracula escapes his confines. During that time, we have an opportunity to become acquainted with the vehicle's motion, get a sense of our surroundings, and encounter several characters (Igor, Hunchback, Phantom, and Victoria) in low-stakes, low-conflict encounters.
• And that Phantom animatronic! The POVs do not give you a complete sense about how much there is to look at any given moment and just how close you get to these figures. While I'm sure there's sufficient clearance, it felt like I could reach out and touch the back of the Phantom's cloak. It is startling and spectacular.
• A tiny yet monumental detail: It certainly appears that the Phantom is actually faux-playing his organ. I observed what appear to be the figure's fingers pressing down on the keys in sequence (and I checked on a POV - you can see it happen). How did they manage this? A known challenge in designing animatronic figures is there's no reliable way to have even the most advanced model come into physical contact with an independent object. Think of how Hondo at Galaxy's Edge doesn't actually touch the buttons on his control panel - he mimes the motion. Yet Phantom manages to play the keys! Perhaps the solution is far simpler than I'm realizing, but as someone with theme park design experience, this stunned me.
• I much prefer Victoria's animatronic face versus her projected face! I think they could've gotten away with that in the preshow, and perhaps they will eventually make the switch (as Disney is with their Frozen characters) down the line.
• More evidence of this ride's origins as a Van Helsing attraction: Frankenstein's Monster's ability to conduct electricity is still the key to something Dracula-related. The plot here was pretty clear to me, at least - the Monster can theoretically conduct enough electricity to supercharge the device containing Dracula. If successful, that power surge will make Dracula docile, similar to the other humanoid monsters like Phantom. Instead, the surge causes the device to short, allowing Dracula to escape.
• About that escaping Dracula figure: Yes, if you're looking for it, you can see the arm holding him up. It wasn't nearly as egregious as I feared given how you are positioned and when the figure is actually lit. I loved the pop of heat and haptic feedback timed to the electrical short.
• And then we've got Monster Unchained's most unfortunate and puzzling blight: The much-discussed black curtain. Yes, it's rough in-person, and the attraction's only true disappointment, in my view. From what I now understand of the ride's layout, it appears they could install another catacomb wall of skulls and bones, or even a simple sculpted stone wall. Right now, you're thrust into this peculiar, blank moment just as the action accelerates, and it's quite easy to see lighting and electrical infrastructure beneath your feet, too. I'm guessing they didn't expect ambient light to illuminate the pipe and drape, but this is something that needs to be addressed.
• We lucked out with regard to the operation of the attraction's many complex animatronics. From what I could tell, only one - Frankenstein wrestling with the vampire bride - was down throughout our trip. They appeared to cover that figure with a black drape so it wasn't observable in its static state, which is appreciated. The unfortunate thing is that when this figure is down, it's tough to understand what's going on, as you still hear Frankenstein's pained grunting. The Victoria figure with the crossbow in this section isn't obvious at first, and I wasn't clear if the Bride she's standing off with is supposed to move.
• From here on out, though? The ride sings. The Creature figure sneaks up on you and is preceded by a neat effect of a Dracula Bride tearing away at a tree, which is a physical effect. On re-rides, I eventually caught the Jack and Chance sculptures present nearby. These are easter eggs done right, as too many modern theme parks emphasize obvious "easter eggs" (read: references) over thematic cohesion. At a certain point, they stop becoming easter eggs and start becoming the theming itself, and nostalgia eating itself alive doesn't give you a lot of substance. All this to say, though, is that I appreciate that the Horror Nights canon gets its little hidden due, particularly because it isn't at the expense of the classic lineup of Monsters.
• The Rick Baker Wolfman, realized before my eyes! I got plenty of blood splatter, so I wouldn't worry too much about the water effect being turned off. The chase is harrowing, and the swipe from the second figure consistently made me jump. You get close, and I couldn't help but think this is what Imagineering hoped guests would experience when passing the Yeti on Expedition Everest. This close encounter pulls off a much higher level of intimacy that allows you to appreciate the figure without sacrificing its frightening appearance or speed of motion. And you even get the homage to the Frankenstein Meets the Wolfman poster as the two creatures confront one another!
• That Mummy figure? (Imhotep? I forget where we landed here.) Also nothing short of spectacular. This ride's full of nightmare fuel. Love the bit of dialogue challenging Victoria's role in all of this.
• Frankenstein's Monster gets to echo his iconic Bride of Frankenstein lines as prepares to battle the Dracula Brides and orders us to "go, live!" The swinging Brides reminded me a lot of the Dementors in Forbidden Journey, albeit more detailed and frightening with their heat-blasted faces of despair. This whole sequence and its scene direction felt like I was in a demented Ralph Bakshi or Don Bluth film.
• The climax largely works, even with Dracula in "B Mode" (i.e. body and facial motion, but no swinging toward you). It's clear to me he receives a direct hit from a light beam and is forced to retreat, but I imagine the ending would provide a considerably greater jolt if he followed the vehicle before it happens. Since it seems that effect is turned off more often than not, I imagine that's the other thing that will eventually need a permanent adjustment to provide a more consistent quality show.
• And then we wrap things up. Victoria has failed but seems undeterred, once again confident that next time - this time - she'll get things right. The hubris perpetuates the loop, even allowing for the ride's repeating events to become a function of Darkmoor's story and lore.
• I really don't have many criticisms here other than the ones I've already mentioned. I think it's plenty scary, your proximity to the monsters is impressive, and the sophistication of the figures is undeniable. Many of these go toe to toe with some of Disney's best work. Yes, the humanoids are scaled up to accommodate all of the robotics inside, but you don't really notice the discrepancy given how everything is staged. Phantom and the Wolfman simply feel larger than life rather than improbably bigger than you.
• My fiancee struggles with motion sickness on Forbidden Journey after eating but did not have any issues with this ride, for whatever that's worth. I realized you also spend quite a bit more time on your back than you do in Forbidden Journey, but for whatever reason, I don't get the same sensations of discomfort here.

We'd now knocked out Donkey Kong, Yoshi, Curse of the Werewolf, and Monsters Unchained. Other than the aforementioned waiting for DK to open, we have not waited more than 10 minutes for any attraction. Next up was the nearby Constellation Carousel.

Actual analysis and review of Unchained? Well-written opinion on the content of the attraction and queue? Not just a recap of what effects weren't working on that specific ride-thru? I must be dreaming.




For all the love that the ride gets here, actual conversation on the queue, story, and ride execution is shockingly rare. In agreement with everyone else here in saying I'm loving this series and very interested in what you write next!

 

[OhHaiInternet95]

Actual analysis and review of Unchained? Well-written opinion on the content of the attraction and queue? Not just a recap of what effects weren't working on that specific ride-thru? I must be dreaming.


View attachment 28400

For all the love that the ride gets here, actual conversation on the queue, story, and ride execution is shockingly rare. In agreement with everyone else here in saying I'm loving this series and very interested in what you write next!

Yeah, unlike its technological brother, Unchained tells a coherent story. One could nitpick about what OUR role is but I would argue it's simply to stroke Victoria's ego.

 

[Clive]

Yeah, unlike its technological brother, Unchained tells a coherent story. One could nitpick about what OUR role is but I would argue it's simply to stroke Victoria's ego.

I think we're absolutely there to stroke her ego. Everything stems from her unbridled hubris. She shows off and brags about her monster before getting us on elaborate vehicles she no doubt also designed and built. Our ride vehicles going haywire when they do makes perfect sense when you consider that Igor, who is responsible for steering us, is quite literally overwhelmed with multiple vehicles dodging monsters at once. (Remember, it's explicitly made clear on this ride that we are sharing the space with other guests simultaneously!) Once Dracula is subdued enough by the light to be restrained again somewhere outside of the guest's view, Victoria curtly dismisses us so that we can "leave her to her work." Igor gets a few gnarly wounds for his troubles, and if you pay close attention to the monitors in his station, the Monster survives.

It's really one of those rare attractions that can logically loop - the story doesn't break down or require an enormous amount of suspension of disbelief on rerides. The next time you visit Frankenstein Manor, Victoria is simply more confident than ever that this time, she's got it. Not all ride narratives can support that kind of looping and shouldn't necessarily attempt it, but I love that it clicks together here.

Now then...

Cirque Arcanus

• The interior queue is my jam. Typically, when a theme park does "circus" or "sideshow" or "carnival," you get a value-engineered area trying to leverage the low-rent decorations. To no one's surprise, not so in the Wizarding World. This is a once-lavish, now past-its-prime circus with dark carnival vibes that will feel right at home to anyone who's seen the new immersive production of Masquerade. If you know any French, pay close attention to the signs and posters, which contain quite a bit of clever wordplay. The many vignettes, while static, are fabulously done, and I was impressed at the detail and lighting of one that can only be observed from a single corner of the Express queue.
• A note: If you arrive early enough, you can spend your entire time waiting for the show in the interior queue's comfortable air conditioning. We took advantage of this on day two.
• Another note: They can and will cut off the queue once they reach capacity, so if they let you get in line, you will make the next performance.
• I can definitely see why some object to the staging and audience orientation of the preshow. It's a big, level room, so shorter folks and kids are basically out of luck unless they know in advance where the action will be happening. All of the stages and screens are elevated, but it's really not enough. Unfortunately, I don't have a fix here, short of installing a giant tiered platform similar to what was found in the late Poseidon's Fury's second preshow and main show room.
• With that in mind, a tip: try to hug the chain stanchions positioned around the right side of the room. The rightmost areas hugging the wall and stage are designated for those with disabilities who need additional time and assistance getting seated. However, because it's rarely full, you can usually get an unobstructed view that happens to be right near the most important action, even if you're standing toward the back of the room. You'll also get more literal breathing room.
• Full spoilers for Cirque ahead. There are two huge surprises that I'm glad I didn't know about, so proceed with caution.
• Like every Potter attraction other than Flight of the Hippogriff and Hagrid's, Cirque assumes you are well-versed in Potter lore -- particularly of the Fantastic Beasts flavor. On a ride, I'd argue you can muscle through many gaps in knowledge thanks to the immediacy of the action and motion. I wasn't so sure how this would work for a show, which I suspect is why they made Gwen, a "squib," an audience surrogate for the non-faithful. Perhaps the most essential narrative element - that the suitcase impossibly contains full-size magical creatures - is already pretty intuitive.
• I am someone who's dabbled in the illusory arts. The reveal of the Demiguise floored me. After carefully inspecting the circumstances of his appearance, I thought I'd figured out the thrust of how it works. Upon more meticulous inspection up close during our second viewing, I realized I hadn't cracked the magic at all - or perhaps my theorized solution was more complex than it initially appeared. In any a case, hats off for pulling off the sort of "wow" moment you don't see in these parks all that often anymore.
• The theater itself is absolutely gorgeous. If you can, try to get a spot in the front row for an excellent view. We had no issues sitting on the house right side despite not being amongst the first waves through. Alternatively, for a more balanced view, try to sit in the first row after the aisle that cuts across the theater. This will give you more leg room and, again, an unobstructed view.
• The show itself manages to have its cake and eat it, too. You get the Wizarding circus acts promised by the facade and preshow prior to any shenanigans starting! I was thoroughly whelmed by the cube juggler, but the bubble person is genuinely enchanting to watch. The Quidditch trapeze artist was also really inspired, with charming, intentionally hokey choreography.
• Of course, the actual main attraction had yet to arrive. I'd heard about some sort of amazing set transition, and I still wasn't prepared for the entire freaking stage to rise into the rafters as the innards of Newt's Suitcase realized themselves in seconds. It is a magic trick, really? No - the mechanics of the thing are apparent once the initial shock wears off, but what a remarkable piece of stagecraft. Both of our jaws were on the floor.
• And then you get endearing puppet after puppet. I did not realize until I watched the Epic Ride documentary that the dancers during the first "act" actually become the puppeteers in the second - an invisible and impressive bit of efficiency.
• There's a marvelous second magic trick that occurs following the arrival of Ringmaster Skender, and I'm guessing 80% of the audience misses it - when Newt uses expelliarmus on him, his wand vanishes. During my first viewing, I assumed the wand was attached to a wire and simply flew off stage, but the second show from the front row appeared to confirm that isn't the case. I suspect the wand is affixed to a mechanism within Skender's sleeve, which pulls it in with speed and precision at the appropriate moment.
• The final illusion - Skender being banished in the closet - isn't as impressive, as it's pretty obvious how it's done. Narratively, though, Newt arriving to save the day hits all the right notes.
• Some might wonder about how Newt was able to deus ex machina the show's conflict - but I actually think it's set up pretty well. It's made explicitly clear in the preshow that the house elf stole the suitcase, and it stands to reason the elf didn't check to see if Newt was currently inside it. Newt was probably trapped in there for some time but deferred action when he saw Gwen's kindness and compassion for the animals. He only chooses to interfere and clear the way for his escape when Skender arrives.
• Eddie Redmayne also turns in a good performance here! The first Fantastic Beasts was a rock solid film (IMO) because of its endearing characters, both human and bestial. Newt is charming in his awkward sincerity, and I do think the show earns its final turn.
• I was slightly disappointed that the Kelpie was relegated to a screen-only moment, so a huge smile grew when that sucker led the curtain across the stage. The perfect button.
• Overall, we felt Cirque was one of the best attractions in Epic Universe, and one of the best Potter attractions, period. It's a remarkably complex but affecting production that captures what made the first Fantastic Beasts so appealing. I'm glad at least Newt gets to live on in the parks.
• Also worth pointing out how well the tall facades of Paris conceal the attraction's theater chambers. Exemplary work.

Emerging from Cirque Arcanus, we realized we probably had time to catch Stardust Racers before our 12:45pm lunch reservation at The Atlantic...

 

[Tobias]

Cirque Arcanus

I was pretty darn impressed with Cirque Arcanus, all I knew going in is it's themed to Fantastic Beasts and that's it. So all the reveals and stagecraft really took me by pleasant surprise! (That reveal in the preshow got such a genuine gasp from the whole audience.)

I absolutely loved the queue, too. Really pulls off the "Tardis" effect they're going for, and the entire aesthetic reminded me of Knott's Scary Farm's (now retired) Mesmer in a very good way!